Quotes about paint
page 18

“I started doing paintings of landscapes in private and wanted to show people what I could do, and to really do that, I needed to do portraits, so I started practising.”

Pricasso (1949) Australian painter

[Lee Rondganger, Artist with unusual technique a Sexpo hit, The Star, South Africa, 28 September 2007, 2, Independent Online]

People, Painting

“See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece.”

Adolph Gottlieb (1903–1974) American artist

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

Feeling, Understanding, Painting

“If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape form one's own epoch, however revolutionary one may be. I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong... If there is a touch of reaction, since life imposes that, it is minute. And then it is so difficult to judge a thing historically, separated from its environment: it is the relationship between a man and what he does that counts. That's what good and touches us.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1946 - 1963, In conversation with Dora Vallier' (1954), p. 265

Life, Idea, Thinking, Painting

“In that privileged place, reality and the sublime dimension almost come together. My mystical paradise begins in the plains of the Empordà, is surrounded by the Alberes hills, and reaches plenitude in the bay of Cadaqués. This land is my permanent inspiration. The only place in the world, too, where I feel loved. When I painted that rock that I entitled 'The Great Masturbator', I did nothing more than render homage to one of the promontories of my kingdom, and my painting was a hymn to one of the jewels of my crown.”

Salvador Dalí (1904–1989) Spanish artist

Quote from Wikipedia: The Great Masturbator
Quotes of Salvador Dali, 1941 - 1950

Love, World, Feeling, Reality

“And I learned very early [Josef Albers was then ten years old] how to make imitation of wood grain. This is something I have in common with Georges Braque. Braque also learned very early from his father how to imitate marble or wood grain. So I could easily make the appearance of oak or walnut on pine. That is very easy; a very simple technique. And I learned how to imitate marble. I never made such a good joke as Braque did. When he was in the Mediterranean he fooled his friends. He painted a rowboat that had wood on one side and marble on the other side. You see, when he'd row out of the city it looked as if he were in a boat of a different material than when he came back, you see, one side was imitation wood and the other side was imitation marble.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Fools, Learning, Appearance, Painting

“I can't understand how anyone is able to paint without optimism. Despite the general pessimistic attitude in the world today, I am nothing but an optimist.”

Hans Hofmann (1880–1966) American artist

As quoted in The Artist's Voice : Talks With Seventeen Modern Artists (1962) by Katharine Kuh, p. 119
1960s

World, Optimism, Understanding, Painting

“Suppose Russia falls apart. Thousands of refugees will huddle together at the Finnish border. This is one of the reasons I want Russia to remain a strong power. Who else could be in such a position other than Putin, who in Finland is repeatedly painted black as a monster?”

Hannu Salama (1936) Finnish writer

Strong, Painting

“Towards the end of the month I prepared engravings; first, invented appropriate drawings. Not that I want to become a specialist now. But painting with its failures cries out for the relief of minor successes. Nowadays I am a very tired painter, but my skill as a draftsman holds [me] up.”

Paul Klee (1879–1940) German Swiss painter

Quote (1904), # 512, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

Failure, Success, Drawing, Painting

“Bless our Mountain Greenery home!
In a mountain greenery
Where God paints the scenery
Just two crazy people together”

Lorenz Hart (1895–1943) lyricist

Mountain Greenery http://www.lorenzhart.org/greenarysng.htm (1935)

God, People, Home, Mountain

“I had no desire to copy Pollock. I didn't want to take a stick and dip it in a can of enamel [paint]. I needed something more liquid, watery, thinner. All my life, I have been drawn to water and translucency. I love the water; I love to swim, to watch changing seascapes. One of my favorite childhood games was to fill a sink with water and punt nail polish into to see what happened when the colors burst up the surface, merging into each other as floating, changing shapes.”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, Taschen, Köln, 2006, p. 80
1990s - 2000s

Love, Life, Color, Game

“Subject…. no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts.
(Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's]”

Arshile Gorky (1904–1948) Armenian-American painter

in his reply to Questionnaires of the MOMA museum, 1941
Gorky's quote refers on his multi-layered painting technique Gorky applied those days
1930 - 1941

Art, Reality, Painting

“I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra…The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely.”

Richard Strauss (1864–1949) German composer and orchestra director

On composing and conducting (page 39-40) (1929).
Recollections and Reflections

Decision, Future, Parting, Painting

“…The subjects we study at school can be divided roughly into two groups—the sciences and the arts. The sciences include mathematics, geography, chemistry, physics, and so on. Among the arts are drawing, painting, modelling, needlework, drama, music, literature. The purpose of education is to fit us for life in a civilised community, and it seems to follow from the subjects we study that the two most important things in civilised life are Art and Science.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Life, Education, School, Art

“So, probably.... when I started painting the pelvis bones I was most interested in the holes in the bones — what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world.... they were most beautiful against the Blue — that Blue that will always be there as it is now after all man's destruction is finished.”

Georgia O'Keeffe (1887–1986) American artist

O'Keeffe's contribution (1939) to the exhibition catalogue of the show An American place (1944)
1930 - 1950

World, Beauty, Sun, Painting

“Who will believe us when we say that we do not love these stuffed dummies—carved or painted images—when our deeds convict us? God hates and despises images, as I shall show. He considers them an abomination and says that all human beings are in his eyes as the things they love. Images are an abomination; it follows therefore that we too shall become abominable, if we love them.”

Andreas Karlstadt (1486–1541) German theologian

Source: On the Removal of Images (1522), p.103

Love, God, Hate, Painting

“To Parker Bright, Hannah Black, and other critics of this painting, I say this:
I completely reject your criticism. If only artists of the proper ethnicity can depict violence inflicted on their group, then only writers of the proper ethnicity can write about the same issues, and so on with all the arts. And what goes for ethnicity or race goes for gender: men cannot write about suffering inflicted on women, nor women about suffering inflicted on men. Gays cannot write about straight people and vice versa.
The fact is that we are all human, and we are all capable of sharing, as well as depicting, the pain and suffering of others. I will not allow you to fracture art and literature the way you have fractured politics. Yes, horrible injustices have been visited on minority groups, on women, on gays, and on other marginalized people, but to allow that injustice to be conveyed only by “properly ethnic or gendered artists” is to deny us our common humanity and deprive us of emotional solidarity. No group, whatever its pigmentation or chromosomal constitution, has the exclusive right to create art or literature about their own subgroup. To deny others that right is to censor them.
To those who say this painting has caused them “unnecessary hurt” because it is by a white artist about black pain, I say, “Your own pain about this artwork is gratuitous; I do not take it seriously. It’s the cry of a coddled child who simply wants attention.””

Jerry Coyne (1949) American biologist

" Insane political correctness: snowflakes urge destruction of Emmett Till painting https://whyevolutionistrue.wordpress.com/2017/04/04/insane-political-correctness-snowflakes-urge-destruction-of-emmett-till-painting/" April 4, 2017

Women, Men, Pain, People

“You go outside, light your pipe, whistle a tune and just paint what you come across. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, in het Nederlands:) Je gaat naar buiten, steekt je pijpje op, fluit een deuntje en schildert wat je tegenkomt.
Mauve's advice to his students; as cited by H.L. Berckenhoff, in Anton Mauve, Etsen van Ph. Zilcken, met fascimiles naar schilderijen, teekeningen en studies, Amsterdam 1890, (microfiche RKD-Archive Den Haag: Berckenhoff, 1890, p. 20)
Mauve's way of painting was in fact the opposite of his advice: often changing and much struggle
undated quotes

Light, Painting

“Ingres, a pupil of David, taught his students that draughtsmanship was of more importance than colour. " A thing well drawn," he said, " is always well enough painted."”

Wynford Dewhurst (1864–1941) British artist

Source: Impressionist Painting: its genesis and development. (1904), p. 2.

Painting

“The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought... He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist's function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses.... so the artist is today giving us a vision of the world of truth in terms of visual symbols.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 127

Truth, World, Art, Idea

“[the 'Surfboards' - series works Noland made mid-70's] were almost like cut-out figures without being figurative… I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, pp. 23-24
Conversation with Karen Wilkin' (1986-1988)

Way, Thinking, Painting, Personality

“A musical event in Münich has brought me a great dolt.... an evening of chamber-music by Arnold Schoenberg (Vienna).... the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.... and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..”

Franz Marc (1880–1916) German painter

In a letter to August Macke (14 January 1911); as quoted in August Macke; Franz Marc: Briefwechsel, Cologne 1965; as quoted in Boston Modern - Figurative Expressionism as Alternative Modernism, Judith Bookbinder, University Press of New England, Hanover and England, 2005, p. 35
Franz Marc visited a concert with music of the composer Arnold Schönberg on 11 Jan. 1911 with Wassily Kandinsky, Alexej von Jawlensky, Gabriele Münter and others; they played there compositions of Schönberg he wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1911 - 1914

School, Music, Color, Imagination

“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

Art, Color, Support, Painting

“It takes time, see. You finish painting the painting and then you turn it to the wall. I mean, you say, does it have it or doesn't it have it? If it doesn't have it, you throw it away, but if you think it has it, you turn it to the wall. And then when you have made some more work, then you turn them all over. And you, again, try to see exactly what it does mean and just exactly how effectively you have rendered this meaning.”

Agnes Martin (1912–2004) American artist

1974
1970's, interview, K. Horsfield & L. Blumenthal

Thinking, Time, Painting

“It’s been said many times in world art writing that one can find some of painting’s meaning by looking not only at what painters do, but what they refuse to do.”

Ad Reinhardt (1913–1967) American painter

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

World, Art, Time, Painting

“Merce [Cunningham] is my favorit artist in any field. Sometimes I'm pleased by the complexity of a work I paint. By the fourth day I realize it's simple. Nothing Merce [Cunningham] does [choreography for dance] is simple. Everything has a fascinating richness and multiplicity of direction. [Jasper Johns did a lot of décors for :Merce Cunningham, as Robert Rauschenberg did and Frank Stella, ]”

Jasper Johns (1930) American artist

Merce, Hubert Saal, Newsweek 71, no. 22, 27 May 1968, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 129
1960s

Dance, Painting

“Artists who don't paint aren't artists.”

Billy Childish (1959) British musician

Milner, Frank (ed): The Stuckists Punk Victorian [National Museums Liverpool, 2005], p. 134
From The Stuckist Manifesto, (1999) co-written with Charles Thomson

Painting

“I am biased towards the belief that every painter must be grounded in strong and faultless drawing skills, and until one has not experimented with all styles of painting and has not comprehended their potentialities one's work is not complete. Even an abstract painter must know how to draw as well as a figurative artist. As for me, drawing has never created any problem, since I know how to draw anatomy correctly if I had to, I understand the function of muscle groups and sculpture.”

Guity Novin (1944) artist

Source: Ayandegan (1973), p. 4

Understanding, Problem, Strong, Drawing

“It does not matter how badly you paint so long as you don't paint badly like other people.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 6.

People, Painting

“The power of memory - magic- myth - abstract beauty. I paint pictures that have never been seen before. Visions of another world. At once sensuous and intellectual.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

World, Beauty, Memory, Painting

“One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.”

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

Source: Karel Appel – the complete sculptures,' (1990), p. 79 'Quotes', K. Appel (1989)

Boy, Parent, Light, Time

“I have many ideas for lights. I will paint only lights at night. [on the twinkling city-lights]”

Mark Tobey (1890–1976) American abstract expressionist painter

Quote from Tobey's letter to the cubist painter Feininger, 1955
1950's

Idea, Light, Painting, Night

“.. emotion that I experienced on first seeing the fresh paint come out of the tube.... the impression of colours strewn over the palette: of colours – alive, waiting, as yet unseen and hidden in their little tubes..”

Wassily Kandinsky (1866–1944) Russian painter

Source: 1916 -1920, Autobiography', 1918, p. 9

Waiting, Painting

“Half or more of the best new work in the last few years has been neither painting nor sculpture.”

Donald Judd (1928–1994) artist

Source: 1960s, "Specific Objects," 1965, p. 74; Lead paragraph; partly cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/6/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 6 Context: Half or more of the best new work in the last few years has been neither painting nor sculpture. Usually it has been related, closely or distantly, to one or the other. The work is diverse, and much in it that is not in painting and sculpture is also diverse. But there are some things that occur nearly in common.

Painting

“I paint ideas, not things. My intention is less to paint works that are pleasing to the eye than to suggest great thoughts which will speak to the imagination and the heart and will arouse all that is noblest and best in man.”

George Frederick Watts (1817–1904) British painter and sculptor

Unsourced

Imagination, Idea, Heart, Painting

“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.”

Gerhard Richter (1932) German visual artist, born 1932

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9 1970's

Motivation, Time, Painting, Personality

“It came into existence because I had to paint it. Any attempt on my part to say something about it, to attempt explanation of the inexplicable, could only destroy it.”

Jackson Pollock (1912–1956) American artist

1947, on his painting 'She wolf'
As quoted in Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 87
1940's

Wolf, Parting, Painting

“It's almost as if art, in painting and music and stuff, is the leftover of some activity. The activity is the thing that I'm most interested in. Nearly everything that I've done was to see what would happen if I did this instead of that.”

Robert Rauschenberg (1925–2008) American artist

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

Art, Music, Painting

“One does not paint for design students or historians but for human beings, and the reaction in human terms is the only thing that is really satisfactory to the artist.”

Mark Rothko (1903–1970) American painter

in conversation with W.C. Seitz
Quote of Rothko in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 116
after 1970, posthumous

Painting

“Painting responded to the plague-darkened vision of the human condition provoked by repeated exposure to sudden, inexplicable death. Tuscan painters reacted against Giotto's serenity, preferring sterner, hieratic portrayals of religious scenes and figures. The "Dance of Death" became a common theme for art; and several other macabre motifs entered the European repertory.”

William H. McNeill (1917–2016) Canadian historian

Source: Plagues and Peoples (1976), Ch.4 "The Impact of the Mongol Empire on Shifting Disease Balances, 1200-1500".

Death, Art, Dance, Painting

“In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, p. 9 : 'Notes from 1969'

Life, Way, Knowledge, Problem

“I frequently leave areas of raw, unprimed canvas unpainted [as in her painting 'Chairman of the Board', 1971].... That 'negative' space has just as active a role as the 'positive' painted space. The negative spaces maintain shapes of their own and are not empty.”

Helen Frankenthaler (1928–2011) American artist

Quote from 'The collection', MOMA, online 1 http://www.moma.org/collection/object.php?object_id=80139 1990s - 2000s

Painting

“It doesn’t matter that your painting is small. Kopecks are also small, but when a lot are put together they make a ruble. Each painting displayed in a gallery and each good book that makes it into a library, no matter how small they may be, serve a great cause: accretion of the national wealth.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Letter to S.P. Kuvshinnikova (December 25, 1888)
Letters

Books, Painting, Wealth

“If there is one subject in this world worthy of being discussed, worthy of being understood, it is the question of intellectual liberty. Without that, we are simply painted clay; without that, we are poor, miserable serfs and slaves.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

The trial of Charles B. Reynolds for blasphemy (1887)

World, Question, Painting

“Starting with approaching the spot where the painting is to be done, meanwhile realising the emptiness of the mind, up to the method of 'the flying white', of the rule of the singular stroke of the brush.... there is a proper tradition in which the artist is fully aware of the fact that only the pure and empty spontaneity enables him to embrace without hesitating all apparitions and to truly penetrate into the roots of things.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 38.

Painting, Flying

“I do not know how to write or speak but only to paint and draw. Look at what I have done. Whether I have succeeded in explaining myself or not, in any case, if you do not understand my work, through your fault or mine, I can do no more.”

Albert Marquet (1875–1947) French artist

Marcelle Marquet, Marquet Fernand Hazan Editions, Paris 1955, p. 6; as quoted in 'Appendix – Marquet Speaks on his Art', in "Albert Marquet and the Fauve movement, 1898-1908", Norris Judd, published 1976, - translation Norris Judd - Thesis (A.B.)--Sweet Briar College, p. 116

Understanding, Drawing, Painting

“[.. that he] would not touch the painting, nor finish it unless the claimant pays him the balance due or guarantees it by giving a security.”

Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher

from a notary document, 1654 (location: RD, 1654/5, 310); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 569 - note 7
Rembrandt is rejecting the demand of the Portuguese Jewish merchant Diego d'Andrade, who rejected in 1654 the portray of his daughter which Rembrandt was painting, as "showing no resemblance at all to the head of the young daughter". D'Andrade demanded that Rembrandt immediately take up his brushes and finish the work to his satisfaction
1640 - 1670

Painting

“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

World, Smile, Art, Color

“Language is an abominable misunderstanding which makes up a part of matter. The painters and the physicists have treated matter pretty well. The poets have hardly touched it. In March 1958, when I was living at the Beat Hotel, I proposed to Burroughs to at least make available to literature the means that painters have been using for fifty years. Cut words into pieces and scramble them. You'll hear someone draw a bow-string. Who runs may read, To read better, practice your running. Speed is entirely up to us, since machines have delivered us from the horse. Henceforth the question is to deliver us from that other so-called superior animal, man. It's not worth it to chase out the merchants: their temple is dedicated to the unsuitable lie of the value of the Unique. The crime of separation gave birth to the idea of the Unique which would not be separate. In painting, matter has seen everything: from sand to stuffed goats. Disfigured more and more, the image has been geometrically multiplied to a dizzying degree. A snow of advertising could fall from the sky, and only collector babies and the chimpanzees who make abstract paintings would bother to pick one up.”

Brion Gysin (1916–1986) Canadian artist

Cut-Ups: A Project for Disastrous Success.

Lie, Literature, Idea, Birth

“This painting, this work you miss so much [the two sisters Morisot painted a lot together] is a cause of much trouble and concern, you know this as well as I do and yet, child that you are, you are already weeping for the loss of the very thing that darkened you mood only recently. Think of it, yours is not the very worst lot: you have a real affection, a devoted heart that is yours an yours alone, do not be ungrateful for the dealings of fate, think of the great sorrow that is solitude; whatever anyone says or does, womankind has immense need of affection; to want to retreat into yourself is to attempt the impossible.”

Berthe Morisot (1841–1895) painter from France

in Berthe's letter to her sister Edma, c. 1870; as cited in The Correspondence of Berthe Morisot, ed. Denis Rouart; Camden, London 1986 / Kinston, R. I. Moyer Bell, 1989, p. 29
1860 - 1870

Fate, Mood, Thinking, Solitude

“I went to see this picture [Raphael's painting 'Madonna della Sedia' which Renoir saw in Florence in 1882] just to have a good laugh – and I found myself in front of the most wonderfully free, solid, simple, alive painting it is possible to imagine – arms and legs of real flesh, and what a touching expression of maternal tenderness.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: 1880's, Renoir – his life and work, 1975, p. 161-162 : (1882), in a letter to Vollard

Imagination, Maternity, Painting

“He can't paint eyes. He couldn't learn to paint at all.”

Margaret Keane (1927) American artist

Cited in " The lady behind those Keane-eyed kids https://books.google.com/books?id=2FMEAAAAMBAJ&pg=PA56," LIFE 69, no. 21 (20 November 1970), p. 56. 1970

Learning, Painting

“Today anyone who paints space must actually go into space to paint [the Russian cosmonaut Gagarin said on 12 April 1961 from his space capsule: 'The earthy is a beautiful blue colour'], but he must there go without any faking, and neither in an aeroplane, a parachute nor a rocket; he must go there by his own means, an autonomous, individual force; in a word, he must be capable of levitating.”

Yves Klein (1928–1962) French artist

In 1961; p. 67
1960 -1964, "Yves Klein, 1928 – 1962, Selected Writings"

Beauty, Painting

“Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 28

Painting

“Well, I looked at Picasso [at the Picasso exhibition, Museum of Modern Art, in 1939] until I could smell his armpits and the cigarette smoke on his breast. Finally, in front of one picture – a bone figure on a beach – I got it. I saw that the figure was not his real subject. The plasticity wasn't either – although the plasticity was great. No. Picasso had uncovered a feverishness in himself and is painting it – a feverishness of death and beauty.”

William Baziotes (1912–1963) American painter

Modern Art U.S.A., R. Blesh, New York, Alfred A. Knopf, 1956, pp. 268-69
1950s

Death, Beauty, Art, Painting

“.. one must agree with Rilke when he says that with 'nothing can one touch a work of art so little as with critical words..'. It was Marcel Duchamps who was critical, when he drew a moustache on the 'Mona Lisa'. And so was Mondrian when he dreamed of the dissolution of painting, sculpture, and architecture into a transcendent ensemble.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 39-40

Dreams, Art, Painting

“I miss my friends in Paris. Holland is fine to paint, but Paris is the only place to follow one's studies. One can find judges there who will encourage you, who wil tell one what is necessary and what is missing. My great hope is to return as soon as the weather and luck are on my side for he journey.”

Johan Jongkind (1819–1891) Dutch painter and printmaker regarded as a forerunner of Impressionism

Quote of Jongkind in his letter, Oct. 1856 from The Netherlands, to Martin Beugniet in Paris; as cited by Victorine Hefting, in Jongkinds's Universe, Henri Scrépel, Paris, 1976, p. 46
Martin Beugniet in Paris buys many new works of Jongkind and tried to persuade him to come back to France

Hope, Study, Painting, Weather

“No, the parallels are between modernism, late modernism, and socialist realism, of course. That's two sides of one coin. Both came of this idea of aristocrats, of people in power, imposing the culture on the people. A totally inhuman art. Modern art, and Pollock is the best example, is totally inhuman. Huge pictures for museums--now we call them museums; in Stalin times they were called palaces, but basically the same thing--which we rarely see and rarely visit. The sheer size of this painting, it's a totally inhuman scale. And there it can be typified…”

Alexander Melamid (1945) Russian artist

The search for a people's art: painting by the numbers, 1994

People, Art, Idea, Time

“But by way of consolation: it is valueless to paint premature things, what counts is to be a personality, or at least to become one. The domination of life is one of the basic conditions of productive expression. For me this is surely the case; when I am depressed I am unable even to think about it – and this holds true for painting, sculpture, tragedy, or music. But I believe that pictures alone will abundantly fill out this one life.”

Paul Klee (1879–1940) German Swiss painter

Quote (Bern, April 1902), as cited in Artists on Art, from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 442
1895 - 1902

Life, Music, Way, Thinking

“Mondrian began with his paintings of the seashore, with blue trees and the cathedral. These paintings were totally symbolist paintings... Until the very end Mondrian remains a Symbolist and an Expressionist.”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

Tree, Painting

“… as a matter of fact it is nice to paint a happy picture after a sad one. I think there is a kind of loneliness in a lot of them which I don't think about as the fact that I'm lonely and therefore I paint lonely pictures, but I like kind of lonely things anyhow; so if the forms express that to me, there is a certain excitement that I have about that.... What I try to do is to create the painting so that the overall thing has the particular emotion; not just the forms in it.... in other words, there's a particular static or heavy form that can have a look to it, an experience that translated through the form; so then it does have a mood. And when that is there, well then it becomes it becomes a painting whereas all the other pictures that have far more interesting shapes and so on, don't become that to me.”

Franz Kline (1910–1962) American painter

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

Happiness, Sadness, Mood, Thinking

“Painting is an act, a sequence of movements one bears within oneself, whose source is one's inner being.”

Jean Miotte (1926–2016) French painter

Quoted in: Ingo F. Walther Art of the 20th Century (2000), p. 264.

Painting

“It turns out that certain picture shapes don't allow you to use different kinds of quantity distributions of color for different expressions. The quantities and configurations of colors are as important as the colors themselves. When I first started painting circles, I went fairly quickly to a 6-foot square module. I think de Kooning said in an interview or artist's discussion that he only wanted to make gestures as big as his arm could reach. It struck me that he was saying this physical size had to do with the expressive size of the pictures he wanted to make. And as far as I know, when I got to the 6-foot square size, it was right in terms of myself and wasn't too much of a field. Or it was a field, yet it was still physical. And that's why I used it for so long.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

Color, Thinking, Painting

“What is video art? How does it differ from commercial television? Is video art linked to such traditional art forms as painting and sculpture? Is it a totally new phenomenon?”

Gregory Battcock (1937–1980)

Gregory Battcock. New Artists’ Video, an anthology, (1978) p. xiii. Introduction:
Listing of the several general questions to which video art gave rise to in those days.

Art, Painting

“The Prelude to Tristan and Isolde reminds me of the old Italian painting of a martyr whose intestines are slowly unwound from his body on a reel.”

Eduard Hanslick (1825–1904) austrian musician and musicologist

Neue Frei Presse

Painting

“Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to w:Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini] did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

In a letter to Gino Severini, Jan. 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Boccioni is referring in this quote to their common former teacher Balla who lived and worked that time in Paris
1913

Art, Confidence, Imagination, Girl

“I met Beckett at my brother’s [ w:Geert van Velde, also an abstract painter] place. That was a Big meeting [circa 1938, in Paris], in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head… This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings.”

Bram van Velde (1895–1981) Dutch painter

About his contact with Beckett in Paris, before and during World War 2.
1970's
Source: article "Schilder Bram van Velde in Dordrecht," in: NRC Handelsblad by Paul Groot, 1979 (English translation: Charlotte Burgmans)

Life, Friendship, War, Way

“I wish I could paint more... I do dozens of sketches for oils.... if I do one that interests me I go on to make a painting but that happens only two or three times a year.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

Quote in 'Travelling Man', Time January 1948
1941 - 1967

Time, Painting

“And now about architects in general – I have to say it, Does [= Theo van Doesburg ], when 'De Stijl' was founded I left it up to you, but I never did agree with you when you ranked the architects alongside us, alongside our 'N. B.' ( / Neo-Plasticism) I knew then that it would lead to conflict… I cannot write about architecture, because I'm not an architect. I mean, I cannot write about the way I write about painting. Later on, though, I will put forward a few ideas.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to Theo van Doesburg, Paris 9 July 1918; as quoted in Mondrian, -The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 139
1910's

Way, Idea, Painting

“There are some people whose dread of human beings is so morbid that they reach a point where they yearn to see with their own eyes monsters of ever more horrible shapes. And the more nervous they are-the quicker to take fright-the more violent they pray that every storm will be … Painters who have had this mentality, after repeated wounds and intimidations at the hands of the apparitions called human beings, have often come to believe in phantasms-they plainly saw monsters in broad daylight, in the midst of nature. And they did not fob people off with clowning; they did their best to depict these monsters just as they had appeared. Takeichi was right: they had dared to paint pictures of devils.”

Osamu Dazai book No Longer Human

The Second Notebook
No Longer Human

People, Nature, Appearance, Painting

“I have always been drawn to the beauty and the tragedy of Diana’s life which I hope I’ve captured in this new series of paintings. I wanted to show her”

Stella Vine (1969) English artist

Kallaway, Stella Vine's Latest Exhibition http://www.kallaway.co.uk/pdf/Stella-Vines-Latest-Exhibition.pdf Modern Art Oxford, (2007-07-14). On her connection to Diana, Princess of Wales.

Life, Beauty, Hope, Painting

“Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.”

Truman Capote (1924–1984) American author

From a 1957 interview
Truman Capote: Conversations (1987)

Law, Music, Light, Learning

“When I painted my seated men, I saw them as gyroscopes. Portraiture always fascinated me because I love the particular gesture of a particular expression or stance... Working on the figure, I wanted paint to sweep through as feelings sweep through..”

Elaine de Kooning (1918–1989) American painter

Quote of c. 1977, as quoted in 'The Portraitist', Berkson, Bill (1992), Modern Painters: pp. 40–42
1972 - 1989

Love, Men, Feeling, Painting

“You please me much by saying that no other fault [in the portrait Gainsborough recently made and sent] is to be found in your picture than the roughness of the surface; for that part being of use in giving force to the effect at a proper distance.... I urn [earn? ] much better pleased that they should spy out things of that kind than to see an eye half an inch out of its place or a nose out of drawing when view'd at a proper distance. I don't think it would be more ridiculous for a person to put his nose close to the canvas and say the colours smell offensive than to say how rough the paint lies; for one is just as material as the other with regard to hurting the effect and drawing of a picture. For Sir Godfrey Kneller used to tell them that pictures were not made to smell of..”

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

Quote in Gainborough's letter, March 1758 from Ipswich, to a correspondent in the neighbouring town of Colchester; 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, pp. 20-21 1755 - 1769

Thinking, Parting, Hurt, Drawing

“Painting is first of all the art of imitation, and not the servant of some imaginary 'purity”

Maurice Denis (1870–1943) French painter

as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [42] Nouvelles théories sur l'art moderne..., 1922

Art, Painting

“Music and painting should never be literary, a very subtle distinction according to Renoir. As soon as I try to represent an individual, their physiognomy and attitudes, I become a literary artist.”

Berthe Morisot (1841–1895) painter from France

Quote in a notebook, after having visited Renoir; as cited in Berthe Morisot, ed. Delafond and Genet-Bondeville, 1997, p. 54
undated quotes

Music, Painting

“After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting… There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle.”

Adolph Gottlieb (1903–1974) American artist

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

Painting

“Modernist tasks and liberties have stirred up a canny diffidence among painters of the largest accomplishment when pressed to talk about their art. It appears unseemly, or naive, to have much to say about the pictures or to attach to them any explicit "program." No more theories expounding an ideal way of painting. And, as statements wither and with them counter-statements, hardly anything in the way of provocation either. Decorum suggests that artists sound somewhat trapped when being drawn out, and venturing a few cagey glimpses of intention.”

Susan Sontag (1933–2004) American writer and filmmaker, professor, and activist

"About Hodgkin," from Howard Hodgkin Paintings edited by Michael Auping (1995), p. 105,

Art, Way, Appearance, Painting

“We're still in a state of shock … We have our "Dump Bush and Cheney" sign in the window, which Lawrence [Ferlinghetti] painted himself. We're looking forward to impeachment or perhaps, indictments for war crimes.”

Nancy Peters (1936) American writer and publisher

"Angry, resigned and motivated -- artists reflect on next four years", http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/11/09/DDG2R9N52H1.DTL San Francisco Chronicle, 2004-11-09. 2000s

War, Painting

“To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory.
He tells stories of the gods, but his yarn is spun from the ungodly, human heart.
The Kathakali Man is the most beautiful of men. Because his body is his soul. His only instrument. From the age of three he has been planed and polished, pared down, harnessed wholly to the task of story-telling. He has magic in him, this man within the painted mark and swirling skirts.
But these days he has become unviable. Unfeasible. Condemned goods. His children deride him. They long to be everything that he is not. He has watched them grow up to become clerks and bus conductors. Class IV non-gazetted officers. With unions of their own.
But he himself, left dangling somewhere between heaven and earth, cannot do what they do. He cannot slide down the aisles of buses, counting change and selling tickets. He cannot answer bells that summon him. He cannot stoop behind trays of tea and Marie biscuits.
In despair he turns to tourism. He enters the market. He hawks the only thing he owns. The stories that his body can tell.
He becomes a Regional Flavour.”

Arundhati Roy book The God of Small Things

page 230-231.
The God of Small Things (1997)

Love, Men, God, War

“I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed..”

Matthijs Maris (1839–1917) Dutch painter

in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxvii

Money, War, School, Fools

“I feel that most illusionists, magicians and prestidigitators have lost their sense of magic. A movie, a painting, a sunset or a piece of music are sometimes more magical than many 'magic tricks'. Most of our contemporary magicians arouse pity or compassion and don't allow the spectators to dream about other worlds. Magic is not the trick you're doing. Magic is a certain mood, an atmosphere; the absolute beauty of the instant when Man meets the sacred; where the walls of our reality open and, beyond them, infinity appears. The magicians are guides who may, at their will, travel from one universe to another, bringing you with them.”

Christian Chelman (1957) magician

Christian Chelman, 1993, Capricornian Tales, L & L Publishing, p. 6

World, Beauty, Dreams, Music

“A few weeks ago I read, in Sacheverell Sitwell, two impressives sentences: “It is my belief that I have informed myself of nearly all works of art in the known world…. I have heard most of the music of the world, and seen nearly all the paintings.” It was hard for me to believe these sentences, but I wanted Sitwell to be able to say them, liked him for having said them—I believed.”

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

“The Collected Poems of Wallace Stevens”, p. 71
The Third Book of Criticism (1969)

World, Art, Music, Reading

“What the eye can see won't get us very far. And what it can see is so limited, so restricted. But a gouache or an oil painting can be seen at a glance, can take in a whole world at a single glance.”

Bram van Velde (1895–1981) Dutch painter

11 August 1972; pp. 90-91
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

World, Painting

“I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back.”

Georgia O'Keeffe (1887–1986) American artist

1970s, Some Memories of Drawings (1976)

Sun, Painting

“It is not possible to make such things [paintings of street-views] without the help of photos. How do you want me to make an Amsterdam street. I make thumbnail sketches in my sketchbook. if it's possible I make a study from a window. and a sketch for the details after my choice. The composition is mine anyhow.”

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:) Het is niet mogelijk dergelijke dingen te maken zonder hulp van photos. Hoe wil je dat ik een Amsterdamsche straat maak. Ik maak krabbeltjes in mijn schetsboek. als het kan een studie uit een raam. en een schets voor de details maar de keus. De compositie is toch van mij.
after 1886; quoted by Van Veen in G.H. Breitner : fotograaf en schilder van het Amsterdamse stadsgezicht', 1997, p. 28-29; as cited in Van IJs naar Sneeuw - De ontwikkeling van het wintergezicht in de 19de eeuw, Arsine Nazarian Juli 2008, Utrecht, p. 85
Breitner defended himself when he was criticized by his art-dealer in using photography for making his paintings
undated quotes

Photo, Study, Help, Painting

“Some few intense enjoyments are given us in life; among them all, perhaps, there is none with so deep a charm as to sit by the side of those we love, and watch them sleeping. Sleep is so innocent, so peaceful in its mystery and its helplessness; and sitting there we can fancy ourselves the guardian angels holding off the thousand evils imagination paints for ever hanging over what is most precious, most dear to us. The long deep-drawn breathing; the smile we love to hope is called up over the features by our own presence in the heart; there are no moments in life we would exchange for the few we have spent by the side of these.”

James Anthony Froude book The Nemesis of Faith

Arthur's commentary
The Nemesis of Faith (1849)

Love, Life, Peace, Smile

“It is hard for me to know what to paint. It comes slowly.”

Edward Hopper (1882–1967) prominent American realist painter and printmaker

quoted by Gail Levin in 'Edward Hopper - an intimate biography' (1995)
1941 - 1967

Painting

“Yellow can paint happiness and also pain... Every color harbors its soul within, delighting or repelling and inspiring me.”

Emil Nolde (1867–1956) German artist

undated quotes

Pain, Happiness, Color, Soul

“I make a little mystique for myself. Since I have no preference or so-called sense of color, I could take almost everything that could be some accident of a previous painting. Or I set out to make a series. I take, for instance, some pictures where I take a color, some arbitrary color I took from some place. Well, this is gray maybe, and I mix the color for that, and then I find out that when I am through with getting the color the way I want it, I have six other colors in it, to get that color; and then I take those six colors and I use them also with this color. It is probably like a composer does a variation on a certain theme. But it isn't technical, it isn't just fun.”

Willem de Kooning (1904–1997) Dutch painter

interview conducted by David Sylvester for the BBC, 1962; as quoted in Abstract Expressionism: Creators and Critics, edited by Clifford Ross, Abrahams Publishers, New York 1990, p. 50.
1960's

Color, Way, Sense, Painting

“The Prime Minister spent a lot of time painting to you a lurid picture of what would happen under a Labour Government in pursuit of what he called a Continental conception. He has forgotten that Socialist theory was developed by Robert Owen in Britain long before Karl Marx. He has forgotten that Australia, New Zealand, whose peoples have played so great a part in the war, and the Scandinavian countries have had Socialist Governments for years, to the great benefit of their peoples, with none of those dreadful consequences…When he talks of the danger of a secret police…he forgets that these things were actually experienced in this country only under the Tory Government of Lord Liverpool in the years of repression when the British people who had saved Europe from Napoleon were suffering deep distress. He has forgotten many things, including, when he talks of the danger of Labour mismanaging finance, his own disastrous record at the Exchequer over the gold standard.”

Clement Attlee (1883–1967) Former Prime Minister of the United Kingdom

Broadcast (5 June 1945), quoted in The Times (6 June 1945), p. 2. Churchill had claimed in broadcast that a Labour government would have to rely on a Gestapo to carry out socialist policies
Leader of the Opposition

War, People, Secret, Suffering

“I believe when you bring, say, a plant into a room, everything in that room changes in relation to it. This tension — tension is the only word for it — can be painted.”

Patrick Swift (1927–1983) British artist

Time Magazine (20 October 1952).

Change, Painting

“In painting it is the forming of the image.”

Cy Twombly (1928–2011) American painter

1950 - 1960
Source: 'In painting it is the forming of the image', Cy Twombly, 'L'Esperienza moderna', 1957; as quoted in Cy Twombly, a monograph, Richard Leeman / picture research Isabelle d’Hauteville. London, 2005 p. 239

Painting

“I was interested in achieving a creative freedom, a style that I could express with Seurat's.... color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, p. 53; as quoted in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003.

Color, Way, Freedom, Time

“They [his 'Street Scene' paintings and drawings, he made in Berlin] originated in the years 1911-14, in one of the loneliest times of my life, during which an agonizing restlessness drove me out onto the streets day and night, which were filled with people and cars.”

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

Quote from Kirchner's Notebook entry 'Meine Strasenbilder', 24 Augustus 1919; as quoted in Ernst Ludwig Kirchner, Meisterwerke der Druckgraphik, M. M. Moeller, Gerd Hatje, Stuttgart 1990 p. 184
1916 - 1919

Life, People, Cars, Time

“In your [ composer Schönberg's ] works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my painting.”

Wassily Kandinsky (1866–1944) Russian painter

in his letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
Kandinsky visited a concert with music of Schönberg on 11 Jan. 1911 with Franz Marc, Alexej von Jawlensky, Gabriele Münter and others; they played compositions, Schönberg wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1910 - 1915

Life, Music, Painting

“When I am painting, driven by lively tensions, I want to express what’s going on in me. When that tension has ceased, when the life in me became visible, then something happened which had to happen. Over and over again you experience a work which is created in this way. What happened? It is hard to say, because it was not my mind that led but the inner desire that revealed its inner life.”

Bram van Velde (1895–1981) Dutch painter

Letter to H.P. Bremmer, 17-11-1930, City Archive The Hague, as quoted in: Bram van Velde, A Tribute, Municipal Museum De Lakenhal Leiden, Municipal Museum Schiedam, Museum de Wieger, Deurne 1994, p. 50 (English translation: Charlotte Burgmans)
1930's

Life, Way, Painting

“it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing [in his paintings].... apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter.”

Per Kirkeby (1938–2018) Danish artist

in the film: 'Per Kirkeby, on his work', 2012
1995 and later

Way, Painting

“Pride is great up to the point you begin to throw out the baby with the bathwater. The rule of Satanism is: if it works for you, great. When it stops working for you, when you’ve painted yourself into a corner and the only way out is to say, I’m sorry, I made a mistake, I wish we could compromise somehow, then do it.”

Anton LaVey (1930–1997) Founder of the Church of Satan, author of the Satanic Bible

The Nine Satanic Sins (1987)

Way, Baby, Painting

“villas with columns in different styles [in Louisiana, America] painted white, in gardens of magnolias, orange trees, banana trees, negroes in old clothes like characters from La Belle Jardiniere.... rosy white children in black [negro] arms.... a brilliant light which streams my eyes.... the Negresses of all shades, holding in their arms little white babies, so white, against white houses with columns of fluted wood and in gardens of orange trees.”

Edgar Degas (1834–1917) French artist

quote on his journey through America during 1872
Quote from his letter, Louisiana, America 1872; as cited in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 113-114
1855 - 1875

Children, Quotes, Tree, Light

“In this world, after all, I've become more or less invisible…I've become what the young are afraid of becoming, just another member of the nameless elderly, an old and broken man with nothing left to offer to this world.
My days are inconsequential, comprising simple moments and even simpler pleasures. I eat and sleep and think of Ruth; I wander the house and stare the the paintings, and in the mornings, I feed the pigeons that gather in my backyard.”

Nicholas Sparks (1965) American writer and novelist

Ira Levinson, Chapter 17, p. 234
2009, The Longest Ride (2013)

Pleasure, World, Thinking, Sleep

Quotes about paint page 18

Quotes about paint
page 18