Quotes about paint
page 25

“To talk about paintings is not only difficult but perhaps pointless, too. You can only express in words what words are capable of expressing, what language can communicate. Painting has nothing to do with that... Painting is another form of thinking.”

Gerhard Richter (1932) German visual artist, born 1932

Quote, 1970's; from the documentary 'Gerhard Richter - Painting', Corrinna Belz, 2011
1970's

Communication, Thinking, Painting

“freely and madly; you will make progress... Above all, don't sweat over a painting; a great sentiment can be rendered immediately..”

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

1870s - 1880s, The Writings of a Savage (1996)

Painting

“I think they [the public] should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for... and I think the unconsciousness drives do mean a lot in looking at paintings... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn't seem to be too serious. I like some flowers, and others, other flowers I don't like. I think at least it gives — at least give it a chance.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, pp. 139-140

Music, Flowers, Idea, Thinking

“Stealing, of course, is a crime, and a very impolite thing to do. But like most impolite things, it is excusable under certain circumstances. Stealing is not excusable if, for instance, you are in a museum and you decide that a certain painting would look better in your house, and you simply grab the painting and take it there. But if you were very, very hungry, and you had no way of obtaining money, it might be excusable to grab the painting, take it to your house, and eat it. -Lemony Snicket”

Daniel Handler book The Wide Window

The Wide Window (2000)

Money, Way, Painting, Housing

“[These are] not paintings in the usual sense, they are life and death merging in fearful union.”

Clyfford Still (1904–1980) American artist

Clyfford Still (ca. 1950) as quoted in Abstract Expressionism, Davind Anfam, Thames and Hudson Ltd London, 1990, p. 138: About his own work
1950s

Life, Death, Fear, Sense

“It ['The Great Masturbator', 1929] represented a large head, yellow like wax, with very red cheeks, long eyelashes and an imposing nose compressed against the ground. This face had no mouth, and in place of the mouth an enormous lobster was hooked. The lobster's belly was decomposing and full of ants. Some of these ants were scurrying through the space that would have been occupied by the non-existent mouth of the great anguished face, whose head ended in 1900-style architecture and ornamentation. The title of the painting was The Great Masturbator.”

Salvador Dalí (1904–1989) Spanish artist

Quote from La vida secreta de Salvador Dalí. In: Complete Works, Autobiographical Articles 1. Ediciones Destino / Gala-Salvador Dalí Foundation, Barcelona / Figueres, 2003, p. 648
Quotes of Salvador Dali, 1941 - 1950

Painting

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

Maurice de Vlaminck (1876–1958) French painter

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

Heart, Painting, Forgetting

“This hall was, by order of the Emperor Jehanguire, the son of Acbar, highly decorated with painting and gilding; but in the lapse of time it was found to be gone greatly to decay; and the Emperor Aurungzebe, either from superstition or avarice, ordered it to be entirely defaced, and the walls whitened.”

Akbar (1542–1605) 3rd Mughal Emperor

About the defaced tomb of Akbar. William Hodges, https://archive.org/details/travelsinindiadu00hodg Travels in India during the Years 1780, 1781, 1782 and 1783.

Time, Painting

“I don't really care what people think of me. Whatever anyone may say, I've helped the whole art world, just as Picasso and Dalí have. I've made people aware of painting, which makes them buy more, just like they go buy more records and books once they're exposed.”

Walter Keane (1915–2000) American plagiarist

Page 48.
1965, Cited by Jane Howard

People, Books, World, Art

“I would like to offer an illustration. Imagine a house which is well designed from a material or practical point of view... Apart from these physio-functional demands, there are also psycho-functional demands which correspond with our optical, phonetic and tactile experiences. Until now, mankind has attempted to satisfy these 'supra-material' demands with a painting on the wall or a sculpture in a room.... the architecture of the future will have to destroy this duality. Its task will be to express completely and fulfill all our demands.”

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

Quote from Van Doesburg's unpublished writing, 'Fundamental principles', 1930; as cited in Theo van Doesburg, Joost Baljeu, Studio Vista, London 1974, p. 203
1926 – 1931

Imagination, Future, Painting, Housing

“Signac, definitively won over and who had just modified the paintings 'The Milliner', [1885] and 'Appreteuse et garnisseuse Modes' [exhibited in May 1886], Rue de Caire, p. 174J, following my technique at the same time as I was finishing the 'Jatte'... You'll agree that there's a nuance here and that if I was unknown in [18]85 [ Félix Fénéon did not mention Seurat in his article as leader / initiator of Neo-Impressionism I nonetheless existed, I and my vision that you have described in an impersonal fashion so superbly, aside from one or two insignificant details.”

Georges Seurat (1859–1891) French painter

version B of the 'Letter to Félix Fénéon', June 1890
Quotes from version B of his letter to Félix Fénéon, Seurat provided more important information
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

Fashion, Time, Painting

“If my time has come I shall have nothing to complain of. For fifty-tree years I have been painting; so I have been able to devote myself entirely to what I loved best in the world. I had never suffered poverty; I had good parents and excellent friends; I can only thank God.”

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

Quote from Corot's letter to his friend M. Francais in 1875, the year of his death
1870s

Love, God, World, Parent

“As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Sadness, Color, Painting

“Personally I would like to have pupils, a studio, pass on my love to them, work with them, without teaching them anything... A convent, a monastery, a phalanstery of painting where one could train together.... but no program, no instruction in painting.... drawing is still alright, it doesn't count, but painting – the way to learn is to look at the masters, above all at nature, and to watch other people painting..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 124, in: 'What I know or have seen of his life'

Love, People, Way, Nature

“Well, I was interested in a subjective image [in the 1940's].... stemming perhaps from the subconscious. Because the external world as far as I was concerned had been totally explored in painting and there was a whole ripe new area in the inner world that we all have. Now in order to externalise this you have to use visual means and so the visual means may have some relation tot the external world. However what I was trying to focus on was what I experienced within my mind, within my feelings, rather than on the external world which I can see.”

Adolph Gottlieb (1903–1974) American artist

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

World, Feeling, Painting

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

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

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

People, Art, Feeling, Business

“Painting is the intermediate somewhat between a thought and a thing.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

30 August 1827
Table Talk (1821–1834)

Painting

“Take beauty: it's a very mysterious thing, isn't it? I think it's a response in our minds to perfection... My paintings are certainly nonobjective. They're just horizontal lines. There's not any hint of nature. And still everybody responds, I think.”

Agnes Martin (1912–2004) American artist

1980 - 2000, Perfection Is in the Mind', 1995

Beauty, Nature, Thinking, Painting

“Well, I first, uh, started doing this after World War II when I was kind of tramping around France, Germany, and the lowlands, and I came upon these frightened, waif-type children, and, uh, they actually looked like rats running around and they acted like it. And, uh, I started painting this type of thing of these chi—these children, they didn't even seem to know why—these children didn't even seem to know how to talk; they couldn't even pray. And it started like, uh, an artist work—it-it does—you don't know how to talk about it, but the painting can talk for you, and I think this is the difference between an artist and a poet and a writer: in other words, an artist, uh, paints what he has to say, where other people do it in, uh, in more verbal type of…”

Walter Keane (1915–2000) American plagiarist

Interviewed https://www.youtube.com/watch?v=9WgStC6fvtM by Gary E. Park (circa 1964). 1964

War, Children, People, World

“Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous.”

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

Source: 1969 - 1980, In: "Ellsworth Kelly: Works on Paper," 1987, pp. 9-10 : 'Notes from 1969'

Art, Painting

“The appreciation of a painting or a piece of music, for example, or even falling in love, is all about our subjectivity. But to decide that the entire universe operates in such a way, let alone to go to war because we are so convinced we are right that others must agree with us or die, that surely should demand a higher level of argument than 'It's true because I really, really feel it is.”

Derren Brown (1971) British illusionist

Books, Tricks of the Mind (2006)

Love, War, Music, Way

“And I painted on and on, coarsely - not skillful at all and rather clumsy.. (translation from Dutch: Fons Heijnsbroek, 2018)”

Gerrit Benner (1897–1981) Dutch painter

version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) En ik schilderde maar door, in mijn onbehouwenheid – niet knap en helemaal niet handig..
Quote of Benner (1971) on his early painter-years in an interview; as cited by Janneke Wesseling in 'Water, Lucht en Vlak Land', in Dutch newspaper 'N.R.C.', 16 Oct. 2014
1950 - 1980

Painting

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

Frank Stella (1936) American artist

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

Art, Idea, Thinking, Painting

“Everything intellectual and transcendent is joined together in painting by the uninterrupted labour of the eyes. Each shade of a flower, a face, a tree, a fruit, a sea, a mountain, is noted eagerly by the intensity of the senses to which is added, in a way of which we are not conscious, the work of the mind, and in the end the strength or weakness of the soul... It is the strength of soul which forces the mind to constant exercise to widen its conception of space. Something of this is perhaps contained in my pictures.”

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

Source: 1930s, On my Painting (1938), p. 14

Way, Exercises, Soul, Mountain

“Here you are, put this somewhere, on your work table. You must always have this before your eyes... It's a new order of painting. Our Renaissance starts here... There's a pictorial truth in things. This rose and this white lead us to it by a path hitherto unknown to our sensibility..”

Paul Cézanne (1839–1906) French painter

Cezanne is referring in this quote to a photo of the painting 'Olypmpia', painted by Manet
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 71, in: 'What I know or have seen of his life'

Truth, Painting

“The French archeologists Iégor Reznikoff and Michael Dauvois conducted detailed surveys of three decorated caves in the Ariège region of southwest France. …they moved slowly through the caves, stopping repeatedly to test the resonance of each section… spanning three octaves… those areas with highest resonance were also those most likely to harbor a painting or engraving. …a fascinating discovery that… Chris Scarre commented at the time, draws "new attention to the likely importance of music and singing in the rituals of our early ancestors."”

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

The Origin of Humankind (1994)

Music, Singing, Time, Drawing

“But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn’t really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was…”

Willem de Kooning (1904–1997) Dutch painter

Quote from De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Life, People, Art, Idea

“I love Friesland, but I don't feel myself a Frisian. I am a human being, be called Gerrit Benner, who paints.. (translation from Dutch: Fons Heijnsbroek, 2018)”

Gerrit Benner (1897–1981) Dutch painter

version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Ik hou van Friesland, maar ik voel me geen Fries. Ik ben een mens, die Gerrit Benner heet, die schildert..
Gerrit Benner (1971), in an interview with K. Peerebooms: 'Jarenlang schilderen zonder een klankbord'; Dutch newspaper 'Het Parool', 3 Nov. 1971
1950 - 1980

Love, Feeling, Painting

“Since I was trying to teach "style" of thinking in science and engineering, and "style" is an art, I should therefore copy the methods of teaching used for the other arts—once the fundamentals have been learned. How to become a great painter cannot be taught in words… Art teachers usually let the advanced student paint, and then make suggestions… more or less as the points arise in the student's head—which is where learning is supposed to occur!”

Richard Hamming (1915–1998) American mathematician and information theorist

The Art of Doing Science and Engineering: Learning to Learn (1991)

Art, Thinking, Learning, Teachers

“I guess it was the big plane crash picture [why Warhol started his 'Death'-series], the front page of a newspaper: '129 DIED'. I was also painting the Marilyns [the Marylin Monroe portraits, Warhol started after her tragic death in 1962] I realized that everything I was doing must have been death. It was Christmas or Labor Day - a holiday - and very time that you turned on the radio they said something like '4 millions are going to die'. That started it. But when you see I gruesome picture over and over again, it doesn't really have any effect.”

Andy Warhol (1928–1987) American artist

Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Death, Time, Holiday, Christmas

“For example, Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes….. this offered a possibility of a way out [of a. o. Social Realism and Cubism ]”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in ‘Living Arts, June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 31
1960s

Way, Question, Time, Painting

“There is no doubt that Goya thought that one of the drugs chiefly responsible for the sleep of reason was the Church, and he had the lowest possible opinion of ecclesiastical institutions. However, this did not prevent him from painting religious pictures, completely sincerely because, like all Latin people, however little he believed in Christianity, he felt himself to be within the structure of the Catholic Church. One of his finest works was the decoration of a church near Madrid called S. Antonio de la Florida. He used the kind of device that would have appealed to Tiepolo. He painted a balcony round the drum of a cupola, and behind it he put a crowd of loiterers who are supposed to be watching the saint raise a man from the dead. Very few of them are interested in this unusual event. They are interested in each other or themselves, and show very well the curious tension between the individual and the collective, which is the essence of a crowd.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 3: Goya

People, Sleep, Painting, Sincerity

“Your Nordic blue eyes looked attentively at the paintings hanging on the walls. I felt stirrings of rebellion: a whole clash between your civilization and my barbarism. Civilization from which you suffer. Barbarism which for me is a rejuvenation.”

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

Original: Votre œil bleu du nord regardait attentivement les tableaux pendus aux murs. J’eus comme le pressentiment d’une révolte : tout un choc entre votre civilisation et ma barbarie. Civilisation dont vous souffrez. Barbarie qui est pour moi un rajeunissement.
Source: 1890s - 1910s, The Writings of a Savage (1996), p. 105: quote from his letter to August Strindberg (5 May 1895)

Suffering, Painting

“There are scarcely fifteen art-collectors in Paris capable of liking a painter without the backing of the Salon. There are eighty thousands of them who wouldn't buy a thing from a painter who is not in the [Paris'] Salon. I am not going to be so foolish as to condemn a thing just because of where it happens to be. In short, I'm not going to waste my time bearing a grudge against the Salon – I don't even want to look as if I do. To my mind, one must simply paint as well as one possibly can – and that's all.”

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

Source: 1880's, Renoir – his life and work, 1975, pp. 127-128 : in his letter to Durand-Ruel (1880's), explaining his choice to participate in the yearly official Salon as well as in the Impressionist Exhibition in Paris, on the same time.

Art, Time, Painting

“If a man has not studied painting, or at any rate black and white drawing, his eyes are wild; learning to draw tames them. The first step towards taming the eyes is to teach them not to see too much.”

Samuel Butler (1835–1902) novelist

Seeing
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting

Study, Learning, Drawing, Painting

“It took me a while to realize that these stories, while often used with children, are not at all children's stories. I think the devil has tricked us into thinking so much of biblical theology is a story fit for kids. How did we come to think the story of Noah's ark is appropriate for children? Can you imagine a children's book about Noah's ark complete with paintings of people gasping in gallons of water, mothers grasping their children while their bodies go flying down white-rapid rivers, the children's tiny heads being bashed against rocks or hung up in fallen trees? I don't think a children's book like that would sell many copies.”

Donald Miller book Blue Like Jazz: nonreligious thoughts on Christian spirituality

Blue Like Jazz (2003, Nelson Books)

Children, People, Books, Imagination

“I would say, 'My things have the look of icons.' Unconsciously they look at you not as my face is now – you see me in profile – icons are only this way. And so are my paintings.”

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

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

Way, Painting

“Then I can see that I'm with you [in Dresden] at the end of April - beginning of May. Then I'll also paint with you the few works which are desired of me, if you'll help me - because I have already forgotten how to paint.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote in a letter to his wife Sophie Küppers (February 1926):' (letter 8-2-1926, Lissitzky-Küppers), Archive van Abbemuseum, Eindhoven, 1990
1926 - 1941

Help, Painting

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

School, Home, Thinking, Time

“I loved to talk about music to Nicky … His influence came from people like The Beatles and The Beach Boys, and he had these ideas about layering vocals, painting landscapes with music. Roma knew about Irish mythology, told stories, wrote poetry and had this special feeling for lyrics. My grounding came from the classics.”

Enya (1961) Irish singer, songwriter, and musician

Women's Weekly interview (2006)

Love, People, Music, Feeling

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

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

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

Idea, Painting

“I got tired of other's people painting and began to make my own paintings. I found, however, that I not only got tired of looking at my own paintings but that I also didn't like painting them at all. The painterly problems of what to put here and there and how to do it to make it go with what was already there, became more and more difficult and the solutions more and more unsatisfactory. Until finally it became obvious that there had to be a better way.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 114

People, Way, Problem, Painting

“I remained there [in The Netherlands, 1914-18] for the duration of the war, continuing my work of abstraction in a series of church. facades, trees, houses, etc. But I felt that I still worked as an Impressionist and was continuing to express particular feelings, not pure reality. Although I was thoroughly conscious that we can never be absolutely 'objective', I felt that one can become less and less subjective, until the subjective no longer predominates in one's work. More and more I excluded from my painting all curved lines, until finally my compositions consisted only of vertical and horizontal lines which formed crosses, each separate and detached from the other. Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity crossing verticals and horizontals.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about 1914-1918; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 43

War, Feeling, Star, Reality

“Religion can never reform mankind because religion is slavery. It is far better to be free, to leave the forts and barricades of fear, to stand erect and face the future with a smile. It is far better to give yourself sometimes to negligence, to drift with wave and tide, with the blind force of the world, to think and dream, to forget the chains and limitations of the breathing life, to forget purpose and object, to lounge in the picture gallery of the brain, to feel once more the clasps and kisses of the past, to bring life's morning back, to see again the forms and faces of the dead, to paint fair pictures for the coming years, to forget all Gods, their promises and threats, to feel within your veins life's joyous stream and hear the martial music, the rhythmic beating of your fearless heart. And then to rouse yourself to do all useful things, to reach with thought and deed the ideal in your brain, to give your fancies wing, that they, like chemist bees, may find art's nectar in the weeds of common things, to look with trained and steady eyes for facts, to find the subtle threads that join the distant with the now, to increase knowledge, to take burdens from the weak, to develop the brain, to defend the right, to make a palace for the soul. This is real religion. This is real worship.”

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

What Is Religion? (1899) is Ingersoll's last public address, delivered before the American Free Religious association, Boston, June 2, 1899. Source: The Works of Robert G. Ingersoll, Dresden Memorial Edition Volume IV, pages 477-508, edited by Cliff Walker. http://www.positiveatheism.org/hist/ingwhatrel.htm

Life, God, World, Fear

“I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a. o. with Theo van Doesburg ] and draw commercial art for newspapers.”

Kurt Schwitters (1887–1948) German artist

In a letter to w:Galka Scheyer, January 1926; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 34.
1920s

Art, Drawing, Painting

“As far as I am concerned, I learned this technique [the use of flat areas, painted in bright color - sometimes in contrasting juxtaposition, sometimes like pieces of colored glass in heavy dark outlines] from Kandinsky and, at the same time, from the glass paintings of the Bavarian peasants of the Murneau area, who had painted for centuries in this style.”

Gabriele Münter (1877–1962) German painter

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

Color, Learning, Time, Painting

“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

Art, Travel, Study, Painting

“Like left-liberals, "lite libertarians"—they're the kind that is afflicted with the same spineless conformity; a deformation of the personality euphemized as political correctness—are incapable of appreciating a script or book; a painting or symphony; a stand-up routine, if only because the material and its creator violates the received laws of political correctness.”

Ilana Mercer South African writer

ILANA MERCER, " "Cathy Reisenwitz Redux: Steigerwald, Oy Vey Gevalt!" https://thelibertarianalliance.com/2015/01/14/ilana-mercer-cathy-reisenwitz-redux-steigerwald-oy-gevalt/ The British Libertarian Alliance, January 14, 2015 2010s, 2015

Books, Law, Affliction, Painting

“Just as the reverent man prays without uttering words, and the Lord hears him, the sensitive painter paints, and the sensitive man understands and recognizes him, but even the more obtuse carry away something from his work.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich, in Romanticism and realism : the mythology of nineteenth-century art - (from Chapter: Friedrich and the language of Landscape https://msu.edu/course/ha/445/rosenfriedrich.pdf), Charles Rosen and Henri Zerner; Viking Press, New York, 1984, p. 63 undated

Understanding, Painting

“I know I cannot paint a flower. I can not paint the sun on the desert on a bright summer morning but maybe in terms of paint color I can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time.”

Georgia O'Keeffe (1887–1986) American artist

In a letter to William Milliken (1930), quoted in Portrait of an Artist: A Biography of Georgia O'Keeffe, Laurie Lisle (1981), p. 128
1930s

Color, Flowers, Time, Sun

“It seems to me a painting [she is working on] like the one I gave Manet ['The Harbour at Lorient'] could perhaps sell, and that is all I care about.”

Berthe Morisot (1841–1895) painter from France

note about her first painting she started after the battle in Paris, 1870; in The Correspondence of Berthe Morisot with her family and friends', ed. Denis Rouart (transl. Betty W. Hubbard); Camden Press, London, 1986, p. 57
1860 - 1870

Painting

“The conviction that painting is the right profession grows stronger and stronger in me. Writing is the only other thing I still feel attracted to. Perhaps when I am mature I shall go back to it.”

Paul Klee (1879–1940) German Swiss painter

Quote (1899), # 93, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

Feeling, Painting

“When I look back to a recent painting, I can hardly bear th suffering in it.”

Bram van Velde (1895–1981) Dutch painter

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

Suffering, Painting

“In the midst of the activities that distract me [shooting partridges in the woods], when I remember a few lines of poetry, when I recall some sublime painting, my spirit is roused to indignation and spurns the vain sustenance of the common herd. And in the same way, when I think of those I love, my soul clings eagerly to the elusive trace of these cherished ideas. Yes, I am sure of it, great friendship is like great genius, and the remembrance of a great and enduring friendship is like that of great works of genius… What a life would be that of two great poets who loved each other as we do! That would be too great for human kind.”

Eugène Delacroix (1798–1863) French painter

Quote in a letter to his friend J. B. Pierret, 18 September 1818, from the Forest of Boixe; 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. 41
1815 - 1830

Love, Life, Friendship, Way

“Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 14 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 292
1900 - 1905

Art, Nature, Sense, Painting

“But if each day we gather some new truths, plant ourselves more firmly upon principles which are eternal, guard every thought and action, that it may be pure, and conform our lives more nearly to that Perfect Model, we shall form a character that will be a fit background on which to paint the noblest deeds and the grandest intellectual and moral achievements; a character that cannot be concealed, but which will bring success in this life and form the best preparation for that which is beyond.”

William Jennings Bryan (1860–1925) United States Secretary of State

Address at Illinois College (1881)

Life, Truth, Success, Painting

“The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do.”

Andy Warhol (1928–1987) American artist

'What is Pop Art? Answers from 8 Painters', Part 1, G. R. Swenson, in Art News 62, November 1963
1963 - 1967

Way, Feeling, Painting

“My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts?Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past.”

Thomas Eakins (1844–1916) American painter

Letter of resignation to Edward Hornor Coates, Chairman of the Committee on Instruction, Pennsylvania Academy of the Fine Arts (1886-02-15).

Life, Women, Men, Beauty

“Painting, even if we call it bad, if it is what helps to keep someone alive, how can we condemn it?”

Albert Marquet (1875–1947) French artist

Marcelle Marquet, Marquet, Fernand Hazan Editions, Paris 1955, p. 3; 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

Help, Painting

“What are we supposed to do [reacting furiously on art-critic Jules Castagnary who proclaimed the so-called new School of Impressionism, 29 April 1874 in the Paris journal 'Le Siècle'] about these stupid literary people who will never understand that painting is a craft! You make it with materials, not ideas! The ideas come afterwards, when the painting is finished.”

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

As quoted in The private lives of the Impressionists Sue Roe, Harper-Collins Publishers, New York, 2006, p. 127
1870's

People, Stupidity, School, Art

“Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Romantic Rebellion (1973), Ch. 1: David

Death, Art, Support, Painting

“A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations... To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910

Appearance, Change, Painting

“No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them.”

Colin Wilson (1931–2013) author

The Chicago Review (Volume 13, no. 2, 1959, p. 152-181)

Life, Pleasure, Art, Music

“.. [both of us (Schelfhout ànd J. C. Schotel)] make each a painting that together will form one view, as it were [view of Scheveningen by Schotel / view of The Hague by Schelfhout].... [but] our paintings together will therefore not become one integrated thing, but only pendants... I have taken my drawing from the steps of the Pavilion [in Scheveningen], viewed over the dunes to [the city] The Hague. In the foreground, which is very bare and empty in reality, I have placed some trees.”

Andreas Schelfhout (1787–1870) Dutch painter, etcher and lithographer

translation from original Dutch: Fons Heijnsbroek
(original Dutch, citaat van Schelfhout, uit zijn brief:) ..[dat wij beiden, (Schelfhout èn J.C. Schotel )] elk een schilderij te maaken het welk bijde als het ware één gezigt zoude uitmaken [uitzicht van Scheveningen door Schotel, èn uitzicht op het centrum van Den Haag door Schelfhout].. ..[maar] onze schilderijen zullen dus te zamen geen geheel uitmaken, maar slechts pandanten zijn.. .Ik heb de teekening genomen van het bordes of trap van het pavilloen [in Scheveningen] over de duinen naar Den Haag gezien. Op de voorgrond, die in de natuur zeer kaal en ledig is heb ik eenige bomen geplaatst..
In a letter to J.C. Schotel, 18 Nov. 1828; in: collective Stadsarchief van ErfgoedCentrum DIEP, Dordtrecht, No. 48-d
Schelfhout was referring to the assignment from the Dutch King Willem I for two paintings: one view over the old center of The Hague & one view over the beach of Scheveningen.

Reality, Tree, Drawing, Painting

“I used to paint some things a few times, but I stopped, because I didn't get an answer. If the work has nothing to say to somebody else, I quit. I am not an idiot who is talking to himself and gazing at the tip of his brush. Painting you do together.”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Voorheen heb ik ook wel eens wat geschilderd, maar omdat ik toen geen antwoord kreeg, ben ik ermee gestopt. Als het een ander niets te zeggen heeft, stop ik ermee. Ik ben geen idioot die in zichzelf zit te praten en naar de punt van het penseel zit te staren. Schilderen doe je met elkaar.
Source: Jopie Huisman', 1981, p. 57

Time, Painting

“Beyond the constructive elements of the picture, I studied the tonalities of nature by adding layer upon layer of diluted black watercolour paint. Each layer must dry well. In this way a mathematically correct scale of light and dark values is the result. Squinting facilitates our perception of this phenomenon in nature.”

Paul Klee (1879–1940) German Swiss painter

Quote (1908), # 840, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html 1903 - 1910

Way, Mathematics, Nature, Study

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

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

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

Life, Light, Painting

“My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object and anyone who gets involved enough in this finally has to face up to the objectness of whatever it is that he's doing. He is making a thing.... all I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion... What you see is what you see.”

Frank Stella (1936) American artist

Quote from: 'Questions to Stella and Judd', Bruce Glaser, Art News, September 1966, p 58-59
Quotes, 1960 - 1970

Idea, Painting

“In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition.”

Marc Chagall (1887–1985) French artist and painter

Quote from a letter to Mstislav V. Dobushinsky, = A. N. Benois, 1912; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 147
1910's

Painting

“I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.”

Gerhard Richter (1932) German visual artist, born 1932

Interview with Anna Tilroe, 1987; as cited on collected quotes on the website of Gerhard Richter: on 'Abstract paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/abstract-paintings-7 1980's

Nature, Reality, Painting, Falseness

“It is the business of a comic poet to paint the vices and follies of human kind.”

William Congreve The Double Dealer

Epistle dedicatory
The Double Dealer (1694)

Business, Painting

“He [ Richard Wagner ] was very happy but very nervous [Renoir proposed him to paint his portrait]... In short, I think I spent my time well, thirty five minutes is not long, but if I had stopped sooner it would have been better, because my model [Wagner] ended up by losing some of his good humor, and he became stiff. I followed these changes too closely [in the portrait]... At the end Wagner asked to see it. He said 'Ah! Ah! It's true that I look like a Protestant minister.”

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

But I [Renoir] was very happy it wasn't too much of a flop: There is something of that admirable face in it' Quote of Renoir, in his letter to a friend, 15 Jan. 1882; as cited in 'Pierre Auguste Renoir - Richard Wagner', text of museum D'Orsay http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/richard-wagner-11042.html?no_cache=1 At the beginning of 1882, Renoir was travelling in the south of Italy and visited Palermo where Wagner was staying. Renoir proposed a short sitting for the following day and Wagner agreed; he had just finished his 'Parsifal'. 1880's

Happiness, Thinking, Change, Time

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

Günter Brus (1938) Austrian artist

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

Way, Exercises, Rage, Time

“… it may suggest whether a negative made by camera and lens is always an essential, or indeed if a negative at all is needed so long as we can produce a light-painted image at our will.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 24

Light, Painting

“I have always been concerned with painting that simultaneously insists on a flat surface and then denies it.”

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

“He had come there dissatisfied with his work, even though his multi-kinetic work was admired and winning him professional recognition. However, at that moment, other ideas were gestating and he wanted to add what he called a "fifth dimension" to his art - that of artificial intelligence. […] : [At the colony, ] he was able to turn his thoughts inward, hoping to discover the new methods and direction that would more deeply satisfy his creative needs. It was at this point, while watching the motions and patterns of sun on leaves in the New Hampshire woods one morning, that Tsai finally achieved the revelatory breakthrough that changed his art and liberated his creative energies. As he put it, he wanted to create "natural movements in dynamic equilibrium, with intelligence," and he found his solution in an unlikely combination of natural phenomenon, the precedent of Gabo's singular (and unrepeated) kinetic sculpture, and the new resource of contemporary analog and digital technology. Speaking of this moment of revelation, Tsai said that he had quite deliberately turned himself into "a sort of plant": facing his chair into the sunshine in the morning, he turned his body in stages throughout the day, mulling over ways of make an "art that presented the observer with natural movements in dynamic equilibrium, and art that could convey the awe I felt while watching sunbeams shimmer through forest leaves." But a work that would "shimmer" simply did not do enough either for the artist or viewer, Tsai concluded. It must also respond in some way to the observer; it would have to work on a new feedback principle and actually engage the observer directly. In short, a cybernetic sculpture was required. To create such radically participatory works, he understood, would require that he draw on his engineering skills rather than suppress them, as he had been trying to do in his period of oil painting.”

Sam Hunter (1923–2014) American art historian

Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 67

Hope, Art, Way, Intelligence

“The real us present, and it is transfigured… It is everywhere a reality at once immutable and changing. Matter is present, submitted to a luminous phantasmagoria. What Monet paints is the space that exists between himself and things.”

Gustave Geffroy (1855–1926) French writer

1895 in: Steven Z. Levine, ‎Claude Monet (1994), Monet, Narcissus, and Self-Reflection: The Modernist Myth of the Self. p. 93

Reality, Change, Painting

“Yesterday Sisley was looking for me everywhere. Madame Latouche told me that he wanted some information about the technique of painting fans. Well, this means my fans are spoken of... I only fear one thing: that they will finally say that's all I am good for!”

Camille Pissarro (1830–1903) French painter

fans!
Quote from a letter, Paris, 5 February 1886, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 68
1880's

Fear, Painting

“When I feel tired and discouraged and I lie down on the sofa, then I think of the simplest thing I can – a piece of string – and I go in it and paint it. That's the way to keep painting – to create something inside that makes you want to recreate it.”

Arshile Gorky (1904–1948) Armenian-American painter

1942 - 1948, A Painter in a Glass House' (1948)

Lie, Way, Feeling, Thinking

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

Daniel Buren (1938) sculptor from France

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

Painting

“I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.... I chose my own label and called my paintings 'Pictographs'..”

Adolph Gottlieb (1903–1974) American artist

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

Art, Feeling, Communication, Thinking

“The truth is that, from the immense spectacle of the world, each novelists retains the one adventure which enable shim to give expression to his own essential self, just as the painter sees in nature only pictures painted in his manner.”

André Maurois (1885–1967) French writer

The Art of Writing

Truth, World, Nature, Painting

“Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)”

André Breton (1896–1966) French writer

Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

Painting

“I love what doesn't exist. I love love that doesn't exist, which extends above you like an invisible city, like uncapturable smoke, a love that evokes a longing for enchanted lands, which fills the head with magical scenes, which confers strength and grandeur, which leads all beings to perfection, which adorns you in marvelous clothes, which increases painting abilities, which crowns you king of all goals, which makes you a god of creation.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote of Werefkin from Briefe an einen Unbekannten, 1901-1905. Köln, 1960, p. 19; as cited in M. K. ČIURLIONIS AND MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, by Laima Lauckaité; Institute of Culture, Philosophy and Art, Vilnius
1895 - 1905

Love, God, Painting, Perfection

“Now let acknowledge the fact that to explain the meaning of painting is difficult. And when the form and the content are really new, there is not even a vocabulary with which to attempt to explain the new work. This is a problem for critics and a difficult problem. I think it is about time for the critics to face this problem, as well as the fact that there are a few new forms and ideas in modern painting, that these have validity, that they are here to stay and will be developed whether opposed or not… They should investigate the serious ideas underlying the painting which they malign.”

Adolph Gottlieb (1903–1974) American artist

Gottlieb's quote on the attacks of critics on abstract art, 1948
Quote from Gottlieb's Lecture, given at 'Forum: the Artist Speaks', museum of Modern Art, New York, May 5, 1948.
1940s

Art, Quotes, Idea, Problem

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Life, Sun, Painting, Housing

“In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape. And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and rose roses, yellow chrysantemums – seeking oppositions of blue with orange, red and green, yellow and violet, seeking THE BROKEN AND NEUTRAL TONES to harmonise brutal extremes. Trying to render intense COLOUR and not a grey harmony.”

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

Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html 1880s, 1886

Money, Flowers, Study, Painting

“Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905

Life, Art, Soul, Suffering

“I am simply painting concrete representation of abstract emotions such as innocent love, ordinary happiness. I do want an emotional response. And I paint about emotions, not about lines. The truth is that it's not the lines that express the emotion. It's the scale of the composition. You know, if you go into a room that has perfect scale, you feel it... If the painting has perfect scale, it moves you. And you have different scale to show different emotions. It's the space between the lines that counts.”

Agnes Martin (1912–2004) American artist

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

Love, Happiness, Truth, Feeling

“What man touches, he can become master of, but to paint that sky [French Riviera] without clouds, that well of light, is as hopeless a task as it would be to sound its depths.”

Jules Dupré (1811–1889) French painter

Quote of Dupré, c 1844-45; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye publisher, A. Wessels Company, New York, July 1902, p. 164
Together, Dupré and Theodore Rousseau struggled in vain for five months of 1844 with the constant fathomless azure blue of the southern sky

Light, Painting

“In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905

Love, Art, Thinking, Time

“.. though I'm a rogue in talking upon Painting and love to seem to take things wrong I can be serious and honest upon any subject thoroughly pleasing to me.”

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

Quote in Gainsborough's letter,from Bath 2 Sept. 1767, to his friend William Jackson of Exeter; as cited in The Letters of Thomas Gainsborough, ed. Mary Woodall, 1961
1755 - 1769

Love, Painting

“Poetical spaces too can be painted like a vase.”

Guity Novin (1944) artist

Setareh-e-Cinema, (1973) Vol. 4, Page 51

Painting

“Now, at this very minute, another thing is happening which we cannot hear because most paintings do not have a sound-track. Peter is inventing the word "simony" to explain ecclesiastical purchase-power, for which, since his Church later exercised it so expertly, Simon Magus ought to be revered as a patron not a rogue.”

Peter Greenaway (1942) British film director

Flying Out of This World

Exercises, Painting

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

Jasper Fforde book The Well of Lost Plots

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

Books, Way, History, Business

“The work in question, painting the peasants, is such laborious work that the extremely weak would never even embark on it. And I have at least embarked on it... And I've grasped some solid and useful things in drawing and in painting, more firmly than you think, my dear friend. But I keep on making what I can't do yet in order to learn to be able to do it... We have in common with each other that we seek our subjects in the heart of the people, and then we have in common a need — either as an objective or as a means — to take our studies from reality.”

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

Quote in his letter to Anthon van Rappard, from Nuenen, The Netherlands, September 1885, in 'Van Gogh Letters' http://vangoghletters.org/vg/letters/let528/letter.html 1880s, 1885

People, Question, Thinking, Reality

“The custom official was desperate, he did not know whether they were pictures, wood ware or even arms [about his abstract collage art, Schwitters exported to France in 1939]. I got the impression he had an inner struggle with two options, either to have me arrested or to call the lunatic asylum. Finally he did not want to make a fool of himself, and accepted they were paintings, especially because another customs official knew me personally and confirmed that I was an artist.”

Kurt Schwitters (1887–1948) German artist

In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.
1930s

Fools, Art, Painting, Personality

“…a medium best suited to illumine and dramatize the issues of the times has its product pressed into a mold, painted lily-white, and has its dramatic teeth yanked out one by one.”

Rod Serling (1924–1975) American screenwriter

"About Writing for Television", his foreword to a collection of teleplays ("Patterns").
Other

Time, Painting

“First we look at the hills in the painting,
Then we look at the painting in the hills.”

Li Yu (author)

As quoted in Lin Yutang's My Country and My People (1935), pp. 99 and 248
Compare:
We're made so that we love
First when we see them painted, things we've passed
Perhaps a hundred times nor cared to see;
And so they are better, painted,—better to us,
Which is the same thing. Art was given for that;
God uses us to help each other so,
Lending our minds out.
Robert Browning, "Fra Lippo Lippi" (1855)

Painting

“I find it hard living on my own, but I imagine I would find it difficult not living on my own. Perhaps I could still change my mind. That's everyone's drama. We all make different compromises. And, no, I don't regret not having children. Given my painting, children could have suffered. A mother must make her children come first: young children are helpless. Well, paintings are objects but they're also helpless.”

Helen Frankenthaler (1928–2011) American artist

In 1958 (three years after breaking up with Greenberg, Frankenthaler married Robert Motherwell; their marriage ended in 1971.
1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Children, Imagination, Suffering, Change

Quotes about paint page 25

Quotes about paint
page 25