Quotes about paint
page 20

“I don't remember where I picked up the head — or the hollyhock. Flowers were planted among the vegetables in the garden between the house and the hills and I probably picked the hollyhock one day as I walked past. My paintings sometimes grow by pieces from what is around... I have used these things to say what is to me the wideness and wonder of the world as I live in it.”

Georgia O'Keeffe (1887–1986) American artist

1970 - 1986, Some Memories of Drawings (1976)

World, Flowers, Past, Painting

“I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.”

Grandma Moses (1860–1961) American artist

As quoted in TIME magazine, Vol. 52 (1948)

Color, Imagination, Tree, Painting

“I've made use of the beautiful weather to sketch and paint outside. I had been staying away from color for such a long time that it had become something quite foreign to me. Working in color was always a great joy to me. And now it is a great joy again. Still, I have to battle with it, wrestle with it, with all my strength. And one must be victorious. But if it weren't for the fight, all the beauty of it wouldn't exist at all, would it? I'm writing this mostly for Mother who, I believe, thinks my whole life is one constant act of egoistic ecstasy. But devotion to art also involves something unselfish.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her parents, from Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

Life, Beauty, Art, Color

“My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you."”

Lee Krasner (1908–1984) American artist

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

Understanding, Time, Painting

“Eventually you can see that your pain was part of a much larger picture that God was carefully painting.”

James MacDonald (1960) American pastor

Source: Always True (Moody, 2011), p. 87

God, Pain, Parting, Painting

“It was around 1910/11 that everyone, at every level of the social scale, became aware of those apparent eccentricities that were challenging the precarious certainties of the world. And it was uniquely the painting of a group, not of an individual, that was the cause.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

World, Painting

“Degrade first the arts if you'd mankind degrade,
Hire idiots to paint with cold light and hot shade.”

William Blake (1757–1827) English Romantic poet and artist

Annotations to Sir Joshua Reynolds's Discourses, title page (c. 1798–1809)
1790s

Art, Light, Painting

“How should one approach the person of van Gogh in order to be able to build a statue of him? How can one place him outside of himself, separate him from the tragic character of his life? How can one build a statue in the open air which simultaneously evokes the rare and the new person who was van Gogh, as also the enormity of the new aspect of the current and future art of painting?”

Ossip Zadkine (1890–1967) French sculptor

Quote in: 'Le Maillet et le Ciseau', (early 1956); as quoted in Zadkine and Van Gogh, ed. Garance Schabert and Ron Dirven (transl. Anne Porcelijn), Vincent van Goghhuis, Zundert & Scriptum Art, Schiedam 2008, p.29
1940 - 1960

Life, Art, Future, Painting

“In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 61-63

Life, People, Truth, Law

“Bread has always been one of the oldest subjects of fetishism and obsession in my work, the first and the one to which I have remained the most faithful. I painted the same subject 19 years ago 'Basket of Bread, 1929'. By making a very careful comparison of the two pictures, everyone can study all the history of painting right there, from the linear charm of primitivism to stereoscopic hyper-aestheticism.”

Salvador Dalí (1904–1989) Spanish artist

Dali's quote, 1945; as cited by R. Descharnes (1985), in Salvador Dalí. Abrams. p. 94. ISBN 0-8109-0830-1
Dali just finished his second painting 'Basket of Bread, 1945'
Quotes of Salvador Dali, 1941 - 1950

Faith, History, Study, Painting

“As the paintings the 'Night Watch' and the 'Staalmeesters' [famous works of Rembrandt ] are showed now it is clear to everyone that they have searched but, indeed messed with it, to enable these paintings to do what they can do [visually]. But you see, they did not find a good solution just because they appreciated the museum itself [a rather new building, then! ] higher than the paintings themselves. I told at the very first opening of the Rijksmuseum [1885] already everyone who wanted to listen to me: in this room, where the Night Watch' is hanging now, it can never comes to its full right…. There must be built for the 'Night Watch' and for the 'Staalmeesters' a separate room each…. [with] standing light and the paintings positioned on an easel or standard behind…. I just want to add here, that my own studio can serve as a very special model…. concerning the sizes and the lighting.”

Jozef Israëls (1824–1911) Dutch painter

Quote from Israëls' letter to the Dutch Minister S. van Houten, 4 Nov. 1894; as cited in In het Rijksmuseum, Jan Veth (translation from the original Dutch: Fons Heijnsbroek); Holkema's Boekhandel http://docplayer.nl/42488824-In-het-rijksmuseum-door-jan-veth-met-twee-brieven-van-jozef-israels-holkema-s-boekhandel-i-4-november-mdcccxciv.html, Amsterdam, 1894, p. 10 During Israel's whole artistic life Rembrandt was his inspiration and had a strong impact on his own painting-style Quotes of Jozef Israels, 1871 - 1900

Search, Light, Painting, Night

“She never had public favor; it was a bit like the Hillary Clinton thing. She did all the right things for her country, but she wasn't ultimately revered. So she had a conversation with her confidant-adviser. She asked him, when have they ever looked up to or idolized a woman? Only one, he told her, the Virgin Mary. So she said, Then I will become like the Virgin Mary, and she did. She created a facade for herself; she stopped having lovers; she became like a virgin. She became sexless, and painted her face in a white alabaster way, and turned herself into an icon that was untouchable and sexless, and then she had everybody's respect.”

Madonna (1958) American singer, songwriter, and actress

Madonna Interview : Aperture Magazine (Summer 1999), Aperture http://allaboutmadonna.com/madonna-library/madonna-interview-aperture-magazine-summer-1999, About Queen of England, Elizabeth I.

Way, Confidence, Lovers, Painting

“Cézanne's painting is strictly painting, and its value is immense; but Van Gogh's painting has the Outsider's characteristic: it is a laboratory refuse of a man who treated his own life as an experiment in living; it faithfully records moods and developments of vision on the manner of a Bildungsroman.”

Colin Wilson book The Outsider

Source: The Outsider (1956), p. 103

Life, Mood, Painting

“I only identified with (Rothko's seriousness, which was absolutely to be admired. At that time, in the 1970's Barnett Newman, with his non-hierarchical structures, his non-relational Color Field painting, seemed more interesting because his work was less pretty.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96, note 31

Color, Time, Painting

“He painted till the lamps grew dim, his hand
Scarce conscious what it wrought; at length his lids
Closed in a heavy slumber, and he dream'd
That a fair creature came and kissed his brow,
And bade him follow her: he knew the look,
And rose. Awakening, he found himself
Kneeling before the portrait:—'twas so fair
He deemed it lived, and press'd his burning lips
To the sweet mouth; his soul pass'd in that kiss,—
Young Guido died beside his masterpiece!”

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

The Painter. from The London Literary Gazette: 15th November 1823 Poetic Sketches. Fourth Series. Sketch I.
The Vow of the Peacock (1835)

Soul, Kiss, Painting

“As far as I can remember, it was about 25 or 26 years ago that Breitner [his pupil then] painted with me in 'Huize Rozenburg' [The Hague]... There I had a large garden where he painted his dragoons with horses, posing there in front of him..”

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

version in original Dutch / citaat van Willem Maris, in het Nederlands: Voor zover ik me kan herinneren is het zoowat 5 of 26 jaar geleden, dat Breitner [zijn leerling toen] bij mij schilderde in den Huize Rozenburg.. .Ik had daar een grote tuin en daar schilderde hij zijn dragonders met paarden, die hij daar liet poseren..
Source: a letter of Willem Maris to Plasschaert 5 Jan. 1906, RKD Den Haag (translation from original Dutch, Fons Heijnsbroek, 2018)

Horse, Painting

“I think that it will be a great success, that all this painting [of Edouard Manet, shortly after his death], so fresh, so vital, will electrify the 'Palais des Beaux Arts' [in Paris], which is accustomed to dead art. It will be the revenge for so many rebuffs, but a revenge that the poor boy only in his grave.”

Berthe Morisot (1841–1895) painter from France

in a letter to her sister Edma Morisot, c. Jan 1884; as cited in: Impressionist quartet, ed. Jeffrey Meyers; publishers, Harcourt, 2005, p. 124
1881 - 1895

Death, Art, Boy, Revenge

“.. that dizzy seething of forms and acoustic lights, rowdy and smelly [visible in the paintings at the Futurist exhibition, February 1912 in Paris].... to obtain this total painting which calls for the active cooperation of all the senses: painting of the plastic mood of the universal, you have to paint the way drunkards sing and vomit, sounds, noises and smells.”

Carlo Carrà (1881–1966) Italian painter

Quote in The painting of Sounds, Noises and Smells Carrà, in 'Lacerba' vol. 1. no. 17, 1,Florence, 1 September 1913, pp. 186-187
1910's

Way, Mood, Sense, Light

“And threat'ning France, plac'd like a painted Jove,
Kept idle thunder in his lifted hand.”

John Dryden Annus Mirabilis

Annus Mirabilis, Stanza 39.
Bartlett's Familiar Quotations, 10th ed. (1919)

Painting

“So, they'd prefer me to do a nude, would they? Fine I'll do them a nude... I'll redo it [his painted copy of Giorgioni's 'Woman with musicians'], with a transparent atmosphere, like those women over there [women bathing in the river, Summer of 1862]. Then I suppose they'll really tear me to pieces. They'll tell me I'm just copying the Italians now, rather than the Spanish. Ah, well, they can say what they like.”

Edouard Manet (1832–1883) French painter

the painting Manet means here became his most famous one: 'Déjeuner sur l'herbe'
Manet's quote to his friend Antonin Proust in 1862, from Manet, Francoise Cachin, Barrie & Jenkins, London 1991, p. 16
1850 - 1875

Women, Tear, Summer, Painting

“I don't do it for the money. I've got enough, much more than I'll ever need. I do it to do it. Deals are my art form. Other people paint beautifully on canvas or write wonderful poetry. I like making deals, preferably big deals. That's how I get my kicks.”

Donald J. Trump (1946) 45th President of the United States of America

Source: 1980s, Trump: The Art of the Deal (1987), p. 1

Money, People, Art, Painting

“Decade after decade, artists came to paint the light of Provincetown, and comparisons were made to the lagoons of Venice and the marshes of Holland, but then the summer ended and most of the painters left, and the long dingy undergarment of the gray New England winter, gray as the spirit of my mood, came down to visit.”

Norman Mailer (1923–2007) American novelist, journalist, essayist, playwright, film maker, actor and political candidate

Timothy Madden, in Tough Guys Don't Dance (1984), Ch. 1

Mood, Light, Winter, Summer

“I can control the flow of paint; there is no accident..”

Jackson Pollock (1912–1956) American artist

1940's
Source: Jackson Pollock and Lee Krasner, Ines Janet Engelmann, Prestel Verlag Munich, 2007, p. 54

Painting

“Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.”

Patrick White (1912–1990) English-born Australian writer

In The Making (1970)

People, Way, Feeling, Thinking

“Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't meant it as a compliment, but it was. It was a fine compliment. Only he didn't know it.”

Jackson Pollock (1912–1956) American artist

In 'Unframed Space' interview with Berton Roueché, The New Yorker (5 August 1950); as quoted in The Grove Book of Art Writing: Brilliant Words on Art from Pliny the Elder to Damien Hirst ed. Martin Gayford and Karen Wright [Grove Press, 2000, ISBN 0-802-13720-2], p. 546
1950's

Painting

“It sometimes takes a foreigner to come and see a place and paint it. I remember someone saying they had never really noticed the palm trees here until I painted them.”

David Hockney (1937) British artist

Interview with Nigel Farndale, "The talented Mr. Hockney," The Telegraph, (15 November 2001)
2000s

Tree, Painting

“Companies think that they are modern because they have painted their walls in a bright colour or they allow people to bring their dogs to work. This is silly and millennial-washing. The idea is to bring in the mature generation and get them to mentor the co-work with the younger generation from a distance.”

Ricardo Semler (1959) Brazilian businessman

Business Report: "Q&A: A rebel with a cause" https://www.iol.co.za/business-report/economy/q-and-a-a-rebel-with-a-cause-15981318 (14 July 2018)

People, Dogs, Idea, Thinking

“Within one hour of touching the brush to canvas for the first time, my students have a total, complete painting.”

Bob Ross (1942–1995) American painter, art instructor, and television host

Alessandra Stanley (December 22, 1991) "Television: Bob Ross, the Frugal Gourmet of Painting", The New York Times, Section 2; Page 33; Column 1; Arts & Leisure Desk.

Time, Painting

“It lay heavily in her hands, the crystal face gleaming, the golden body exquisitely machined. It was very like a clock, or a compass, for there were hands pointing to places around the dial, but instead of the hours or the points of the compass there were several little pictures, each of them painted with extraordinary precision, as if on ivory with the finest and slenderest sable brush. She turned the dial around to look at them all. There was an anchor; an hourglass surmounted by a skull; a chameleon, a bull, a beehive… Thirty-six altogether, and she couldn't even guess what they meant.”

Philip Pullman His Dark Materials trilogy

Lyra, investigating the alethiometer, in Ch. 4 : The Alethiometer
His Dark Materials, The Golden Compass (1995)

Painting

“You can do plein-air painting indoors, [to his pupil then, Berthe Morisot ] by painting white in the morning, lilac during the day and orange tones in the evening.”

Edouard Manet (1832–1883) French painter

quote of Manet, recorded bij Berthe Morisot; in Manet by Himself, ed. Juliet Wilson Bareau Little Brown 2000, London; p. 303
1850 - 1875

Painting

“After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.”

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

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

Universe, Painting

“Shelley was kicked out of Oxford—I think the story is unauthenticated, but who cares—because he painted a sign on the end wall of a dead-end alley: THIS WAY TO HEAVEN. I feel that every now and then his sign needs repainting.”

Ursula K. Le Guin (1929–2018) American writer

Introduction to the story “The Field of Vision” p. 222
Short fiction, The Wind’s Twelve Quarters (1975)

Way, Feeling, Thinking, Painting

“Only now [1943] I become conscious that my work in black, white and little color planes has been merely 'drawing' in oil color. In drawing, the lines are the principal means of expressions... In painting, however, the lines are absorbed by the color planes; but the limitations of the planes show themselves as lines and conserve their great value.”

Piet Mondrian (1872–1944) Peintre Néerlandais

note from his postcard, late May 1943; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 240
1940's

Color, Drawing, Painting

“Phœbus, arise!
And paint the sable skies
With azure, white, and red.”

William Drummond of Hawthornden (1585–1649) British writer

"Phoebus Arise".
Poems (1616)

Painting

“I was in Rotterdam, but the exhibition there was horrible. Le Fauconnier has nothing to tell anymore. He has a dirty color now and has become a real academic. Mondrian is completely frozen, no poetry at all anymore. It's terrible that these people can not reach further with great ideals. To my taste Alma paints far too much naturalistic. A big difference, these three, compared to [Franz] Marc, Kandinsky, Filla etc..”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from German, Fons Heijnsbroek, 2018
(original version, written by Jacoba in German:)Ich war in Rotterdam, aber da war eine schreckliche Ausstellung. Le Fauconnier ist nichts mehr. Er hat jetzt eine schmutzige Farbe uns ist ein richtiger Akademiker. Mondrian ist ganz erstarrt, gar kein Poesie mehr. Es ist doch schrecklich, dass die Leute nicht weiter kommen mit grossen Idealen. Alma ist für meinen Geschmack viel zu viel Naturalist. Ein grösser Unterschied, die drei und [Franz] Marc, Kandinsky, Filla etc..
in a letter to Herwarth Walden, 9 Feb. 1915; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 13
1910's

People, Color, Painting

“There was no telling who this head, or this leg, or that arm, belonged to... So I scattered the limbs in my painting and realized that in this way I was getting much closer to the truth than Michelangelo did when he concentrated on every separate muscle.”

Fernand Léger (1881–1955) French painter

as quoted from the exhibition catalogue Fernand Legér, Paris, 1956
Quotes of Fernand Leger, 1950's

Truth, Way, Painting

“I was tired of painting. So many collectors bought paintings and locked them in bank vaults. The stained-glass windows allowed me to make public art…. One day a woman stopped me in the street to talk to me about Champ-de-Mars metro station. "Whether it's sunny, rainy, or snowing, I love your stained-glass windows at Champ-de-Mars. Those big dancing shapes always warm my heart." That woman was neither a collector nor an art critic, but she understood the meaning I meant to give that work.”

Marcelle Ferron (1924–2001) Canadian artist

Original in French: J'étais dégoûtée de la peinture. Bon nombre de collectionneurs achetaient des tableaux pour les enfermer dans des voûtes de banques. Les verrières m'ont permis de faire de l'art public.... Un jour, une femme m'a abordée dans la rue pour me parler de la station de métro Champ-de-Mars. « Qu'il fasse beau, qu'il pleuve ou qu'il neige, j'adore vos verrières du Champ-de-Mars. Ces grandes formes qui dansent me font chaud au coeur. » Cette femme n'étaient ni une collectionneuse ni une critique d'art, mais elle avait compris le sens que j'avais voulu donner à cette oeuvre.
L'esquisse d'une mémoire, 1996

Love, Art, Heart, Dance

“I believe that art has a kind of Rightness, as in music, when we hear whether or not a note is false. And that's why classical paintings, which are right in their own terms, are so necessary for me. In addition to that there's nature, which also has this rightness.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 106, note 59

Art, Music, Nature, Painting

“Pop Art is the use of commercial art as a subject matter in painting, I suppose. It was hard to get a painting that was despicable enough so that no one would hang it – everybody was hanging everything. It was almost acceptable to hang a dripping paint rag, everybody [in America, mainly in New York, 1950s] was accustomed to this. The one thing everyone hated was commercial art; and apparently they didn’t hate that enough either.”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

Hate, Art, Painting

“Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.”

John Constable (1776–1837) English Romantic painter

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

Feeling, Horse, Painting

“At Black Mountain College in 1952, I organized an event that involved the paintings of Bob Rauschenberg, the dancing of Merce Cunningham, films, slides, phonograph records, radios, the poetries of w:Charles Olson and M. C. Richards recited from the tops of ladders, and the pianism of David Tudor, together with my 'Juilliard lecture', which ends: 'A piece of string, a sunset, each acts.' The audience was seated in the center of all this activity. Later that summer, vacationing in New England, I visited America's first synagogue, to discover that the congregation was there seated precisely the way I had arranged the audience at Black Mountain.”

John Cage (1912–1992) American avant-garde composer

Quote in: 'Silence: lectures and writings by John Cage'; publisher Middletown, Conn. Wesleyan University Press, June 1961, Foreword/ix
1960s

Way, Mountain, Dance, Summer

“People think of him [Caligula] as a revolutionary or a figure of fun or a madman. There are so many aspects to him that we know really little about him, just the information that was given to us through a historian, a Roman historian called Suetonius, and he was from the other side of the family, so Suetonius paints Caligula as a very wicked madman, and that's the only reason that Suetonius considers why he did so many, on the face of it, crazy things. My interpretation of the character is not quite like that.”

Malcolm McDowell (1943) English actor

As quoted in A Documentary on the Making of Gore Vidal's Caligula [documentary] (1981), Cinemedia West Corporation

People, Family, Thinking, Painting

“I was quite active politically just previous to this, and I'm leading into this time when I was on WPA and there was a group called the Artist's Union which was organized, so that I was extremely active in that. Again that meant more meetings and fighting for artists' rights on the WPA... I would say it gave me an opportunity to continue through a period of where one had a livelihood to deal with and/or painting. This allowed for painting and I'd say in that sense it was extremely influencing.... WPA itself ended after the War Service Project and by way of terminating, it allowed you to take one of several war courses that were being offered. After which you were supposed to be able to go into that field and earn a living. I took drafting.”

Lee Krasner (1908–1984) American artist

n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

War, Way, Sense, Time

“A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.... [but] it is an incomplete art which privileges the intellect to the detriment of the senses... [art must be like.. ] fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
1930s

Art, Sense, Painting

“Today the people stand at the door of the university, and it is the university that must be flexible. It must color itself black, mulatto, worker, peasant, or else be left without doors. And then the people will tear it apart and paint it with the colors they see fit.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Speech at the University of Las Villas (1959)

People, Color, Tear, Universe

“Our civilization is in a continuous state of self-repair. Maybe you have undergone surgery once. In former times you might have died. Today everybody can live on and on; everything around us is repaired, even the spirit. Look at the young artists. They only paint the facade and not the things hidden behind it. I don't say that life is lost its originality. I show straightforwardly the state of repair of civilization.”

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

Appel is referring to his sculpture 'State of liberty'
Source: Karel Appel – the complete sculptures,' (1990), p. 85 'Quotes', K. Appel (1989)

Life, Time, Painting

“Painting certainly means more to me than everything else in the world. I think my mind becomes clearer when I am in the presence of nature. Unfortunately, the realization of my sensations is always a very painful process with me. I can't seem to express the intensity which beats in upon my senses. I haven't at my command the magnificent richness of color which enlivens Nature... Look at that cloud; I should like to be able to paint that! Monet could. He had muscle.”

Paul Cézanne (1839–1906) French painter

Quote in a conversation with Vollard, along the river near Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 74
Quotes of Paul Cezanne, 1880s - 1890s

Pain, World, Color, Nature

“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

Jacob Maris (1837–1899) Dutch painter

Bijna alle nieuwe Fransche kunst [Impressionisme] heeft voor mij een plat, leeg karakter zonder afstand en diepte in kleur. De schilderijen lijken witte velletjes papier met kleurtjes erop. Quote of Jacob Maris, in: 'Veerpont - Jacob Maris', Frank van der Velden https://www.rembrandtcirkel.nl/ul/cms/attachment/file/document/6/0/7/607/607/1/veerpont.pdf; Vereniging Rembrandt, Spring 2005, p. 24 he lived for several years in Paris, till 1871

Art, Color, Painting

“Work at the same time upon water, sky, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression.”

Camille Pissarro (1830–1903) French painter

his remark in 1896, as quoted in: Paul Cézanne, ‎Terence Maloon, ‎Angela Gundert (1998) Classic Cézanne, p. 45
1890's

Water, Time, Painting

“The decay of our culture since 1941 can be measured by the fact that academic historians today are no longer interested in historical truth or interested in it only marginally; what really interests them is jobs. They match the anthropologists and geneticists who, with practiced effrontery, can say that all races are equal and there is no difference between them. There are now 'scientists' who boast they are so versatile they can prove anything, for a suitable fee, while others abuse spectroscopes to prove that a painted rag is a 'Holy Shroud,' or use quantum mechanics to prove that the old Jew-god converted mud into Adam. 'Truth' is whatever pays the most. The academicians have conformed to what is now the American ethic. Whether any nation so decadent and depraved can or should survive is a question I am unwilling to consider.”

Revilo P. Oliver (1908–1994) American philologist

"A World Grown Grey With Their Breath", Liberty Bell magazine (January 1988)
1970s, 1980s

God, Truth, Question, Painting

“Departure' [also the title of a famous triptych painting of Max Beckmann], yes departure from the illusion of life toward the essential things that wait behind appearance... We must insist that Departure is not bound to a political trend, but is symbolic for all times.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

In a letter to his art dealer Curt Valentin, Amsterdam, 11 February 1938; as quoted in Max Beckmann – On my Painting in the preface, Mayen Beckmann; Tate Publishing London, 2003
1930s

Life, Departure, Appearance, Time

“I admit I know little of Orient art. But that is because I cannot find in it what I am looking for, or what I am talking about. To me the Oriental idea of beauty is that 'it isn’t there'. It is in a state of nor being there. It is absent. That is why it is so good. It is the same thing I don't like in Suprematism, Purism and non-objectivity… I do like the idea that they - the 'pots and pans' [pictured in the classic still life paintings], I mean – are always in relation to man. They have no soul of their own, like they seem to have in the Orient..”

Willem de Kooning (1904–1997) Dutch painter

Quote from De Kooning's lecture Trans/formation, at Studio 35, 1950.
1950's

Life, Beauty, Art, Soul

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (1993)

Art, Departure, Drawing, Painting

“When the streets are paved with brilliants and the skies made of rainbows I suppose you'll be contented and satisfied with red, blue and yellow.... how to satisfy your tawdry friends while you steal back into the mild evening gleam and quiet middle term[? ]. I'll tell you, my sprightly genius, how this is to be done. Maintain all your lights, but spare the poor abused colours till the eye rests and recovers. Keep up your music by supplying the place of noise by more sound, more harmony and more tune, and split that cursed fife and drum.... he [Mr. Garrick] must feel the truth of what I am now saying, that neither our plays, paintings or music are any longer real works of invention, but the abuse of Nature's lights and what has been already invented in former times.”

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

Quote in a letter of Gainbourough, 1772; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 88 1770 - 1788

Truth, Music, Feeling, Nature

“He Kandinsky had always expressed a great interest in abstraction when we visited Tunisia together in 1904. The Moslem interdiction of representational painting seemed to stir his imagination and that was when I first heard him say that objects disturbed him. Between 1907 and 1910 [the period in which Kandinsky painted his first abstract compositions], he began to rely increasingly on his own theories of art, which many of his friends could understand only with great difficulty.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 117

Art, Imagination, Understanding, Painting

“That's good advice.... all the more so since I may well be forced to leave it [the painting] at that, as so often happens when the model doesn't come back. That's always been my principal concern, to make sure of getting regular sittings. Whenever I start something, I'm always afraid the model will let me down... They come, they pose, then away they go, telling themselves that he can finish it off on his own. Well no, one can't finish anything on one's own, particularly since one only finishes on the day one starts, and that means starting often and having plenty of days available.”

Edouard Manet (1832–1883) French painter

Quote of Manet c. 1880, recorded by Antonin Proust; as quoted in 'The Importance of Manet's Conceptualization in 'Olympia' and 'The Bar at the Folies-Bergère' http://www.arthistoryarchive.com/arthistory/manet/arthistory_manet.html, by Charles Moffat, on 'The Art History Archive', c. 2001 1876 - 1883

Painting

“The study of nature is of no significance, for painting is a conventional art, and it is infinitely more worthwhile to learn to draw after w:Holbein.”

Edgar Degas (1834–1917) French artist

Quote from History of Impressionism, Rev. ed. John Rewald, Museum of Modern Art, 1961, p. 89
posthumous quotes, Degas Dance Drawing' (1935)

Art, Nature, Study, Learning

“Oil painting and color, said Michelangelo, are for “women and the lazy.” His sharp-edged Apollonian style is the only way to beat back mother nature.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 158

Women, Color, Way, Nature

“What I really want to do, it seems, is to paint a single form in the middle of a canvas... That's all a painter is, an image maker, is he not? And one would be a fool, some kind of fool, to want to paint a picture. The most powerful instinct is to paint a single form in its continuity, which is after all what a face is. This happens constantly on a picture. I remember last year I became so nervous about what I was doing that I finally reduce it down to the can on the palette with brushes in it. Well, that's real, tat can with brushes. And I painted the an with brushes sticking in it, and I couldn't tolerate it. I couldn't face it. It was as if it didn't contain enough of my thoughts or feelings about it.... I became signs. Exactly.... It seemed to become signs and symbols and I don't like signs.”

Phillip Guston (1913–1980) American artist

Source: 1950 - 1960, Interview with David Sylvester, BBC (March 1960), pp. 95

Fools, Feeling, Painting

“Constable, an admirable man, is one of England's glories. I have already told you about him and about the impression he had made on me when I was making 'The massacre at Chios'. He and Turner were real reformers. They broke out of the rut of traditional landscape painting. Our School [ French Romanticism ], which today abounds in men of talent in this field, profited greatly by their example. Géricault [first leader of French Romanticism, followed by Delacroix after his early death] came back in a daze from seeing one of the great landscapes Constable sent us.”

Eugène Delacroix (1798–1863) French painter

Quote from Delacroix' letter to Théophile Silvestre, Paris, 31 December 1858; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 352
1831 - 1863

Death, Men, School, Painting

“There is only one kind of painting: landscape. It is the most difficult. It has also, I believe, the most simple kind of composition. Because no one can stop us from imagining the world in the way that pleases us most.”

André Derain (1880–1954) French painter and engraver

Quote from Derain's letter to Maurice de Vlaminck, c. 1906; as cited in 'Report: André Derain's 'Trees by a Lake', by Cleo Nisse and Francesca Whitlum-Cooper http://courtauld.ac.uk/wp-content/uploads/2015/06/Report-Derain-by-F-Whitlum-Cooper-and-Cleo-Nisse.compressed.pdf, p. 5

World, Way, Imagination, Painting

“An abstract painting will react to you if you react to it. You get from it what you bring to it. It will meet you half way but no further. It is alive if you are. It represents something and so do you. YOU, SIR, ARE A SPACE, TOO.”

Ad Reinhardt (1913–1967) American painter

Quote from the six page comic How to Look at Anvolved 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.

Source: Contemporary American Painting, University rt, in Arts & Architecture, January 1947. note: 1940 - 1955,
en.wikiquote.org - Ad Reinhardt / Quotes of Ad Reinhardt / 1940 - 1955

Way, Painting

“Another Visitor: How did you manage, Monsieur Degas, when you painted that plein air called 'Le Plage', the one Monsieur Rouart has?
Degas: It was quite simple. I spread my flannel vest on the floor of the studio, and had the model sit on it. You see, the air you breathe in a picture is not necessarily the same as the air out of doors.”

Edgar Degas (1834–1917) French artist

"The Crime and the Punishment" (p. 47)
posthumous quotes, Degas: An Intimate Portrait' (1927)

Painting

“Tone is light in another shape. In music, instruments perform the functions of the colours employed in painting.”

Honoré de Balzac book Gambara

Gambara (1837)

Music, Light, Painting

“The great difficulty and crowning glory of art is to paint, to draw, to write, naturally and simply.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

Art, Nature, Drawing, Painting

“One has to seek Beauty and Truth, Sir! As I always say to my pupils, you have to work to the finish. There's only one kind of painting. It is the painting that presents the eye with perfection, the kind of beautiful and impeccable enamel you find in Veronese and Titian.”

William-Adolphe Bouguereau (1825–1905) French painter

Bouguereau (1895); Attributed in: Jefferson C. Harrison (1986) French paintings from the Chrysler Museum. Chrysler Museum, North Carolina Museum of Art, Birmingham Museum of Art (Birmingham, Ala.). p.45.

Truth, Beauty, Painting, Perfection

“.. that my drawings which offer - also by variety of genre - a greater variety [compared to his paintings], especially after 1863, when my late friend jr. CCA Ridder van Rappard urged me to reserve especially for him all the new works I would make and such including the freedom not to limit myself exclusively to my main genre [churches]. In the environment around his estate in the Sticht where he stayed, it became therefore the treshing-floors of the farms and the house-interiors which immediately attracted and inspired me to achieve a new personal interpretation of these subjects.”

Johannes Bosboom (1817–1891) Dutch painter

citaat van Johannes Bosboom, in origineel Nederlands: ..dat mijner teekeningen, die ook door verscheidenheid van genre een grooter afwisseling aanbieden [dan zijn schilderijen] vooral na 1863, toen wijlen mijn vriend jhr. C. C. A. Ridder van Rappard er bij mij op aandrong om wat ik verder zou leveren voor hem te bestemmen en zulks met de vrijheid mij niet uitsluitend te houden bij mijn hoofdgenre [de kerken]. In den omtrek van het door hem betrokken landgoed in het Sticht waren het dan ook de boerendeelen en binnenhuizen, die mij dadelijk aantrokken en inspireerden tot een nieuwe eigen opvatting daarvan.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 13-14

Freedom, Drawing, Painting, Housing

“The fellow is whimsical and varys his prices every day; and he that has a mind to have any of his works must not seem too fond of it, for he' be ye worse treated for it both in price and painting too.”

Owen Swiny (1676–1754) Irish theatre manager

quoted by George A. Simonson in [Antonio Canal, The Burlington Magazine, January 1922, 40, 226, https://babel.hathitrust.org/cgi/pt?id=coo.31924015109949;view=1up;seq=49, 36–41] (quote from pp. 39–40, taken from a letter by Owen Swiny to the 2nd Duke of Richmond, concerning Canaletto)

Painting

“When we realize that we can see life we gradually give up the things that stand in the way of our complete awareness. As we paint we move along step by step. We realize that we are guided in our work by awareness of life.”

Agnes Martin (1912–2004) American artist

from her 1989 piece for 'Artspace', 'The Current of the River of Life Moves Us'
1980 - 2000

Life, Way, Painting

“My first lesson in relativity:.. we had a still life set-up to paint. Suddenly I saw that the pitcher was so big [his hands outside the shape of a pitcher, then close in] and the glass was so big. From that time on everything was all right. [Tobey is remembering his Saturday morning painting class]”

Mark Tobey (1890–1976) American abstract expressionist painter

A Tobey Profile, quoted by Belle Krasne, Art Digest, 26 Oct. 15, 1951
1950's

Life, Time, Painting

“The real horror is mass production. Painting when there is no compulsion to do so… …Pictures like that are all unpunished crimes.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 3 April 1972; p. 86
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Painting

“When you are working, you are so far away and so absorbed, it's inevitable that you fall into a vacuum when you stop.... every time when I finish a painting, I always have to wait to get my strength back before I can begin another.”

Bram van Velde (1895–1981) Dutch painter

3 April 1972; p. 90
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Time, Waiting, Painting

“.. it is only in this way, or almost, that a portrait can be painted today [because] all the things punt into the picture have the same importance, they are in the right place.”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi on a self-portrait by the painter Henri Rousseau; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d’Arte Moderna di Bologna, 2008; p. 54
1925 - 1945

Way, Painting

“None of the free [ a. o. his first religious] imaginative pictures that I painted at this time [c.1909] or later, had any kind of model, or even a clearly conceived idea. It was quite easy for me to imagine a work right down to its smallest details, and in fact my preconceptions were usually far more beautiful than the painted outcome: I became the copyist of the idea. Therefore I liked to avoid thinking about a picture beforehand, all I needed was a vague idea of luminescences of colour. The work then developed of its own accord under my hands.”

Emil Nolde (1867–1956) German artist

Nolde's quote c. 1909; as cited by de:Wolf-Dieter Dube, in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 81
1900 - 1920

Beauty, Imagination, Idea, Thinking

“[to Mondrian:] Maybe you should take all these red, yellow and blue elements off the canvas and let them hang in the air, so they can move. [Mondrian reacted: 'Well, I think my paintings are fast enough already..”

Alexander Calder (1898–1976) American artist

Quote (1930), from a studio-visit at Mondrian's place in Paris, as cited by by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square 1930s - 1950s

Thinking, Painting

“I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..”

Alexej von Jawlensky (1864–1941) Russian painter

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

God, Art, Feeling, Soul

“Painting for me is merely a means of forgetting life. It is a cry in the night. A sob broken off. A strangled laugh.”

Georges Rouault (1871–1958) French painter

quoted by Henri Perruchot, in T-Lautrec, transl. Humphrey Hare; The World Publishing Company, Cleveland, Ohio, 1960/61, p. 51
Quotes, undated
Source: https://ia800500.us.archive.org/20/items/tlautrec00perr/tlautrec00perr_bw.pdf

Life, Painting, Cry, Night

“We [Frida and Diego] moved from the house on Reforma [street] to Coyoacán, and that had an enormous influence on me. How we painted the house and the Mexican furniture, all that influenced my painting a lot. While still on Reforma, I painted a self-portrait [Self-portrait 'Time Flies', 1929] that is owned by Morillo Safa. Once in Coyoacán I began to make paintings with backgrounds and Mexican things in them. I painted the portraits of Hale's sister.... and the one of Diego, which I did not finish [this painting is lost and was never documented before]. Those three paintings, who knows where they are. Mirillo Safa has the third self-portrait [her Self-portrait of 1930], showing me bald and sitting in a cane chair.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 75

Sister, Time, Painting, Housing

“I am most anxious to get into my London painting-room, for I do not consider myself at work unless I am before a six-foot canvas. I have done a good deal of skying for I am determined to conquer all difficulties, and that among the rest.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 41
1820s

Painting

“Truth does not require your painting, brother; it is itself beauty. Unfold it, and men will be captivated. Take your brush to set off the rainbow, or give a new tinge of splendor to the setting sun, but keep it away from the "Rose of Sharon and the Lily of the Valley."”

David Thomas (born 1813) (1813–1894) 19th-century Welsh preacher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 606.

Men, Truth, Beauty, Sun

“I didn’t choose painting … It chose me. I didn’t have any talent. I just had genius.”

Grace Hartigan (1922–2008) American artist

As quoted in "Grace Hartigan, 86, Abstract Painter, Dies" in The New York Times (18 November 2008) http://www.nytimes.com/2008/11/18/arts/design/18hartigan.html?_r=2

Painting

“Most women are not so young as they are painted.”

Max Beerbohm (1872–1956) English writer

A Defense of Cosmetics (1895)

Women, Painting

“It's like this - you are in front of your canvas, you hand holds the paint, ready, raised. The canvas waits, waits, empty and white - but all the time it knows what it wants. So - what does it want, anyway? My hand comes near, my eyes begin to transform the waiting canvas; and when - with my hands holding the paint and my eyes seeing the forms - I touch the canvas, it trembles, it comes to life.”

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

Karel Appel's excerpt', c. 1953

Life, Time, Waiting, Painting

“My painting does not come from the easel. I hardly ever stretch my canvas before painting. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. This is akin to the method of the Indian sand painters of the West.”

Jackson Pollock (1912–1956) American artist

Quote from 'Possibilities' Vol. 1, no 1, winter 1947-48, p. 79; as cited in 'Jackson Pollock: is he the greatest living painter in the United States?', in 'Life' (8 August 1949), pp. 42-45
1940's

Way, Feeling, Parting, Painting

“For me Ruisdael is the true man of poetry, the real poet. There is a world of sad, serious and beautiful thoughts in his paintings. They possess a soul and a voice that sounds deep, sad and dignified. They tell melancholic stories, speak of gloomy things and are witnesses of a sad spirit. I see him wander, turned in on himself, his heart opened to the beauties of nature, in accordance with his mood, on the banks of that dark gray stream that rustles and splashes along the reeds. And those skies!... In the skies one is completely free, untied, all of himself.... what a genius he is! He is my ideal and almost something perfect. When it storms and rains, and heavy, black clouds fly back and forth, the trees whiz and now and then a strange light breaks through the air, and falls down here and there on the landscape, and there is a heavy voice, a grand mood in nature; that is what he paints; that is what he [Ruysdael] is imaging.”

Gerard Bilders (1838–1865) painter from the Netherlands

(version in original Dutch / citaat van Bilders' brief, in het Nederlands:) Ruisdael is voor mij de ware man der poezië, de echte dichter. Daar is een wereld van droevige, ernstige schone gedachten in zijn schilderijen. Ze hebben een ziel en een stem, die diep, treurig, deftig klinkt. Zij doen weemoedige verhalen, spreken van sombere dingen, getuigen van een treurige geest. Ik zie hem dwalen, in zichzelf gekeerd, het hart geopend voor de schoonheden der natuur, in overeenstemming met zijn gemoed, aan de oevers van die donkere grauwe stroom die ritselt en plast langs het riet. En die luchten!.. .In de luchten is men geheel vrij, ongebonden, geheel zichzelf.. ..welke een genie is hij [Ruisdael]! Hij is mijn ideaal en bijna iets volmaakts.Als het stormt en regent, en zware, zwarte wolken heen en weer vliegen, de bomen suizen en nu en dan een wonderlijk licht door de lucht breekt en hier en daar op het landschap neervalt, en er een zware stem, een grootse stemming in de natuur is, dat schildert hij, dat geeft hij weer.
Source: 1860's, Vrolijk Versterven' (from Bilders' diary & letters), pp. 51+52, - quote from Bilders' diary, 24 March 1860, written in Amsterdam

World, Sadness, Beauty, Soul

“Painting must be fertile. It must give birth to a world.... it must fertilize the imagination.”

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

from: Taillandier, 1959; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 82, note 24
1940 - 1960

World, Imagination, Birth, Painting

“You don't paint the way someone, by observing his life, thinks you have to paint, you paint the way you have to in order to give. That's life itself, and someone will look and say it is the product of knowing, but it has nothing to do with knowing, it has to do with giving. The question about knowing will naturally be wrong. When you've finished giving, the look surprises you as anyone else. Some painters talking about painting are like a lot of kids dancing at a prom. An hour later you are too shy to get out on the floor.”

Franz Kline (1910–1962) American painter

1950's, Evergreen Review, 1958

Life, Way, Question, Nature

“Pricasso can paint with either hand, but prefers using his nether regions. He has been painting this way for seven years and has painted ordinary people, celebrities and politicians.”

Pricasso (1949) Australian painter

[The Star staff, Pricasso's the name, painting the game, 28 September 2012, 3, The Star, South Africa, Independent Online]
About

People, Way, Painting

“Around 1950-51… I was finally getting away from the pictographs and looking for something… So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape… What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way… I would say roughly from 1952 to 56/57. About five years.”

Adolph Gottlieb (1903–1974) American artist

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

Way, Thinking, Change, Time

“I can only explain to some artists, who would be my collaborators and not my pupils, the method by which, in my opinion, one becomes a painter, by which I myself have tried to become one since my earliest days, leaving to each person the complete control of his individuality, the full liberty of his own expression in the application of this method. To achieve this aim, the organization of a communal studio, recalling those extremely fruitful collaborations of the studios of the Renaissance, could certainly be useful and contribute to the opening of the era of modern painting.”

Gustave Courbet (1819–1877) French painter

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

Communication, Painting, Personality

“The whole Renaissance tradition is antipathic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cézanne and after him Picasso and myself can take a lot of credit for this.... scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.”

Georges Braque (1882–1963) French painter and sculptor

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

Art, Painting

“In my search for these values I like to work both realistically and abstractly. In my drawing and painting I turn from one to the other as a necessity or impulse and not because of a preconceived design of action. When drawing what I see I am usually most conscious of the underlying principle of abstract form in human beings and their relationship one to the other. In making my abstract drawings I am most often aware of those human values which dominate the structure and meaning of abstract forms. Sculpture is the fusion of these two attitudes and I like to be free as to the degree of abstraction and realism in carving. The dominant feeling will always be the love of humanity and nature; and the love of sculpture for itself.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 285

Love, Feeling, Search, Nature

“[Pricasso] has achieved a good likeness and I can't imagine how he painted it without brushes or conventional equipment.”

Pricasso (1949) Australian painter

Mayor of Capetown Helen Zille — cited in: [Cape Argus staff, Artist uses a different stroke on Zille portrait, Cape Argus, South Africa, 7 May 2008, 3, Independent Online]
About

Imagination, Painting

“Telephone, pedal washbasin, white refrigerators gleaming with Ripolin [French paint], bidet, small phonograph.... objects of authentic and pure poetry (MPC p. 11).... The Parthenon was not built as a ruin. It was built on a new surface without patina, like our automobiles. / we will not always bear on our shoulders the weight of our father's corpse.”

Salvador Dalí (1904–1989) Spanish artist

Quote, 1920's; MPC p. 13; as quoted in Dali and Me, Catherine Millet, - translation Trista Selous -, Scheidegger & Spiess AG, 8001 Zurich Switzerland, p. 28
Quotes of Salvador Dali, 1920 - 1930

Painting

“I rather feel that painting is a form of drawing and the painting that I like has a form of drawing to it. I don't see how it could be disassociated from the nature of drawing.... I find in many cases a drawing has been the subject of the painting – that would be a preliminary stage to that particular painting.... the painting can develop something that is not at all related to the drawing and have no particular mood about it at all; it's just a cool kind of reality that has a series of involvements within it; and the pure excitement of those things happening within this form is enough for that particular panting..”

Franz Kline (1910–1962) American painter

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

Feeling, Mood, Nature, Reality

“Long after I’m gone, people will have these paintings with dust and footprints in them. It will be something really special for people to enjoy and remember.”

Alan Bean (1932–2018) American astronaut and painter

After the moon, art is his mission (1997)

People, Painting

“How could Leonardo da Vinci not have painted? How could Shakespeare not have written? In Letters to a Young Poet, Rilke tells a young writer to write only if he has to. We are to do what there is a deep psychological and emotional imperative for us to do. That’s our point of power, the source of our brilliance. Our power is not rationally or willfully called forth. It’s a divine dispensation, an act of grace.”

Marianne Williamson (1952) American writer

Source: A Return to Love: Reflections on the Principles of "A Course in Miracles" (1992), Ch. 7 : Work, §3 : Personal Power

Painting

“to try also, inasmuch as possible, to go beyond easel painting, which in my opinion has a narrow goal, and to bring myself closer, through painting, to the human masses I have never stopped thinking about.”

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

1915 - 1940
Source: 'Je rêve d'un grand atelier', Miro 1938; as quoted in Calder Miró, ed. Elizabeth Hutton Turner / Oliver Wick; Philip Wilson Publishers, London 2004, p. 65

Thinking, Painting

“[E]ven if you do know about art, you can’t talk about it socially… Damien Hirst’s shark was a common talking point for a time, and so will the diamond skull be: for a little more time, perhaps, but not forever. The Botticelli paintings are forever because they aren’t talking points.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Reflections on a Diamond Skull', on corporate art
Television and radio, Radio 4: A Point of View

Art, Time, Painting

“"Now I have lost all fear, and begin to draw on the black surface'" (Arp). Only love — for painting, in this instance — is able to cover the fearful void.”

Hans Hofmann (1880–1966) American artist

Robert Motherwell, partly quoting Jean Arp, in Motherwell & black (1981) p. 94 -->
Misattributed

Love, Fear, Drawing, Painting

Quotes about paint page 20

Quotes about paint
page 20