Source: 1920s, "Picasso Speaks" (1923), p. 315
Speech on the 24th Anniversary of the Revolution http://www.youtube.com/watch?v=8IGbjPqFFvA (7 November 1941)
Stalin's speeches, writings and authorised interviews
“The painter should not paint what he sees, but what will be seen.”
Mauvaises Pensées et Autres (1941)
in his letter to Lugné-Poë, End of 1890; as quoted in Pierre Bonnard, by John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 17 - note 11
Lugné-Poe was just called then in the French army; Bonnard had left the army already, c. one year ago
Quoted in: Pierre Cabanne (1977), Pablo Picasso: His Life and Times, p. 268.
Quotes, 1970's
Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 258)
Quotes, 1930's, "Conversations avec Picasso," 1934–35
A Mathematician's Apology (1941)
23 September 1878
Cosima Wagner's Diaries (1978)
The Soul of Man Under Socialism (1891)
Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 312
Quotes, 1920's
Attributed by Max Jacob (1876–1944) to Juan Gris, quoted in: Jeanine Warnod (1972). Washboat days. p. 204
Source: 1920s, "Picasso Speaks" (1923), p. 319.
as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 10
after Monet's death
Quote from Munch's text (1889) 'Impressions from a ballroom, New Year's Eve in St. Cloud' - also known as 'The St. Cloud Manifesto'
1880 - 1895
Preface (1910) to The Bible of Amiens by John Ruskin, translated by Proust (1904); from Marcel Proust: On Reading Ruskin, trans. Jean Autret and Philip J. Wolfe (Yale University Press, 1987, ISBN 0-300-04503-4, p. 57
Quote of Friedrich's letter 8 Feb. 1809, to 'Akademiedirektor Schulz'; as cited by Helmut Bôrsch-Supan and Karl Wilhelm Jàhnig in Caspar David Friedrich: Gemâlde, Druckgraphik und bildmassige Zeichnungen (Munich: Prestel, 1973), 182-83, esp. 183; translation, David Britt - note 117 http://d2aohiyo3d3idm.cloudfront.net/publications/virtuallibrary/0892366745.pdf
1794 - 1840
“Painting is the grandchild of nature. It is related to God.”
As quoted in Rembrandt Drawings (1975) by Paul Némo, as translated by David Macrae
undated quotes
“Zaandam is particularly remarkable and there is enough here to paint for a life-time.”
Quote of 1871, in Monet's letter to Camille Pissarro, 2 June 1871; as cited in Van Gogh Museum Journal 2001 http://www.dbnl.org/tekst/_van012200101_01/_van012200101_01_0012.php Van Gogh Museum, Amsterdam 2001. p. 140
1870 - 1890
In a letter to Ernest Hoschedé, May 15, 1879 (W, letter, 158); as cited in: Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 123
1870 - 1890
Quote from a petition presented by Titian, and read on the 31st of May, 1513, before the Council of ten of Venice; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account..., publisher John Murray, London, 1877, p. 153-154
The chiefs of the Council on the day in question accepted Titian's offer. Sharp monitions reminded him in 1518, 1522 and 1537 that he should complete 'The Battle', he did not until 1539
1510-1540
Source: http://www.everypainterpaintshimself.com/article/titians_battle_of_cadore_1538-9
Claude Monet, in an interview, 1895; as quoted in: Paul Hayes Tucker et al. (eds). (1999) Monet in the Twentieth Century. London: Royal Academy of Arts/Boston: Museum of Fine Arts. As cited in: Steven Connor, " About There, or Thereabouts http://www.stevenconnor.com/aboutthere/aboutthere.pdf." talk given at the Catalysis conference on Space and Time, Downing College, Cambridge, 23rd March 2013.
1890 - 1900
“I am not an artist just someone who paints.”
Interview tapes Cotton & Mullineux
Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311
Quotes, 1920's
in a letter to his second wife Alice Hoschedé, 1884; as cited in: Christoph Heinrich, Monet, (2000), p. 64
1870 - 1890
"Up the Ladder from Charm to Vogue", p. 185
On the Contrary: Articles of Belief 1946–1961 (1961)
Manifesto (1919)
Las artes (pintura, poesía, etc.) no son solo éstas. Artes son también comer, beber, caminar: todo acto es un arte.
Source: Aphorisms (2002), p. 60
Quote from Monet's letter to art-critic and his friend Gustave Geffroy, Giverny 1890; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 56
1890 - 1900
The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter
Was the World Made for Man? (1903): also p. 106, What is man?: and other philosophical writings, Volume 19 of Works, 1993, Mark Twain, Paul Baender, University of California Press
2016, Memorial Service for Fallen Dallas Police Officers (July 2016)
In his letter from Normandy to art-critic and friend Gustave Geffroy, 24 April 1889; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 129
1870 - 1890
Letter from Oliver Cowder to W.W. Phelps (Letter I), (September 7, 1834). Published in Latter Day Saints' Messenger and Advocate, Vol. I. No. 1. Kirtland, Ohio, October, 1834. Published in Letters by Oliver Cowdery to W.W. Phelps on the Rise of the Church of Jesus Christ of Latter-day Saints, Liverpool, 1844.
The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter
The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter
12 October 1492; This entire passage is directly quoted from Columbus in the summary by Bartolomé de Las Casas
Journal of the First Voyage
Richard Friedenthal, (1963, p. 260).
1930s, "Conversations avec Picasso," 1934–35
The Notebooks of Leonardo da Vinci (1883), IX The Practice of Painting
"Platform Insincerity" in The Outlook, Vol. 101, No. 13 (27 July 1912), p. 660
1910s
Boisgeloup, winter 1934
Richard Friedenthal, (1963, pp. 257-258).
Quotes, 1930's, "Conversations avec Picasso," 1934–35
“I was thinking about Casagemas's death that started me painting in blue.”
Quoted in Pierre Daix, La Vie de Peintre de Pablo Picasso, Paris: Editions du Seuil, 1977.
Picasso explained his friend Pierre Daix (around 1965), why he started painting in blue early around 1905. Picasso had made a portrait of Carles Casagemas in 1899.
1970s
Original: C’est en passant que Casagemas était mort que je me suis mis à piendre en bleu
"Harold Ryan"
Happy Birthday, Wanda June (1970)
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 148, in: 'What he told me – I. The motif'
Quote from Otto Dix, 1891-1969, p. 280; as cited in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 80
Source: Crossways (1889), The Song Of The Happy Shepherd, l. 1–5.
From At home with André and Simone Weil by Sylvie Weil, p. 31 https://books.google.com/books?id=OdeDlT9-GBUC&pg=PA31
Quote About
Remarks by President Obama and Prime Minister Rajoy of Spain After Bilateral Meeting https://www.whitehouse.gov/the-press-office/2016/07/10/remarks-president-obama-and-prime-minister-rajoy-spain-after-bilateral (10 July 2016)
2016
Van Gogh, the Man Suicided by Society (1947)
Letter to James F. Morton (10 February 1923), published in Selected Letters Vol. I (1965), p. 208
Non-Fiction, Letters, to James Ferdinand Morton, Jr.
Quote, Jan. 1921, to journalist Marcel Pays. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926
“Painting from nature is not copying the object, it is realizing sensations.”
Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 46, in: 'What I know or have seen of his life'
Quote of Monet, 1864 in a letter to his friend Frédéric Bazille; as cited in Monet's landschappen Vivian Rusell; Icob, Alphen aan de Rijn, The Netherlands 2010, p. 12
1850 - 1870
in a letter to , 1859; as quoted in Discovering Art, – The life time and work of the World's greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 11
1850 - 1870
Democratic National Convention Nomination Acceptance Speech (29 August 2008) https://www.youtube.com/watch?v=nmEI9Doctqs
2008
Quote of Munch from: T 2770, (1890); as cited in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 83-84
1880 - 1895
“Nothing in the whole world is of interest to me but my painting and my flowers.”
his remark, shortly after the death of his second wife Alice in 1911; as quoted in: K.E. Sullivan Monet: Discovering Art, Brockhampton press, London (2004), p. 76
1900 - 1920
“In many ways my paintings are about energy — both in how they are created and the image itself.”
Quoted in Brian Sherwin, "Art Space Talk: James Rosenquist," myartspace.com (2008-04-04)
Orientamo-nos por normas geradas segundo consensos, e domínios, mete-se pelos olhos dentro que variando o domínio varia o consenso, Não deixas saída, Porque não há saída, vivemos num quarto fechados e pintamos o mundo e o universo nas paredes dele.
Source: The History of the Siege of Lisbon (1989), p. 267
In his application for a grant given by the Guggenheim Foundation 1944; as quoted in Abstract expressionism, Barbara Hess, Taschen Köln, 2006, p. 9
1940's
in the studio
Quote from Boudin's sketchbook; as quoted in Boudin at Trouville, by Vivien Hamilton, exh. Catalogue, London John Murray Ltd., 1992, p. 16
undated quotes
“It fascinates me to create beautiful paintings with the simplest means.”
On refusing to mesh his work with technology or the Internet; quoted in Brian Sherwin, "Art Space Talk: James Rosenquist," myartspace.com (2008-04-04)
1790s, Discourse to the Theophilanthropists (1798)
Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 33
undated
As quoted in: Faber Birren (1965) History of color in painting: with new principles of color expression. p. 284-5
Alternative translation:
To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.
As quoted in Luncheon of the Boating Party (2007) by Susan Vreeland
undated quotes
“Ninety percent of the theory of Impressionist painting is in.... Ruskin's Elements.”
Quote attributed to Claude Monet, talking to a British journalist in 1900, by Wynford Dewhurst in 'What is impressionism?', Contemporary Review, March 1991; Cited in: John Ruskin (2012) The Elements of Drawing. p. viii
1900 - 1920
“In painting as in eloquence, the greater your strength, the quieter your manner.”
Volume V, part VIII, chapter III (1860).
Modern Painters (1843-1860)
1941 - 1967
Source: Three Hundred Years of American Painting, Alexander Eliot; New York: Time Inc., 1957, p. 298
1859 letter to Eugène Boudin, June 3, 1859; as cited in Rodolphe Rapetti (1990) Monet, p. 11
Monet wrote Boudin this letter just after he visited the 1859 Salon.
1850 - 1870
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 121
In a report, 1792 which Goya was invited to write to the Academy of San Fernando on the subject of teaching art; as cited by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 126
at the end of 1792 Goya abruptly broke off work on his tapestry designs and left Madrid for the South. In Jan. 1793 he wrote a note: 'had been ill for two months and asked permission to stop designing and go to Sevilla to recuperate'. There are no more letters written by Goya then; no one can say more about this crisis / illness, according to Robert Hughes
1790s
“You paint your smile on your lips.”
Music, Slippery When Wet (1986)
“Life is painting a picture, not doing a sum.”
Address to the Harvard Alumni Association to the Class of '61, in Speeches (1913), p. 96.
1910s
“If it is pleasing to observe in nature her desire to paint God in all his works”
Conversation on Epictetus and Montaigne
Context: If it is pleasing to observe in nature her desire to paint God in all his works, in which we see some traces of him because they are his images, how much more just is it to consider in the productions of minds the efforts which they make to imitate the essential truth, even in shunning it, and to remark wherein they attain it and wherein they wander from it, as I have endeavored to do in this study.
“The main thing now is not to paint precociously but to be, or at least become, an individual.”
Diary entry (3 June 1902), # 411, in The Diaries of Paul Klee, 1898-1918; University of California Press, 1968
1895 - 1902
Context: The main thing now is not to paint precociously but to be, or at least become, an individual. The art of mastering life is the prerequisite for all further forms of expression, whether they are paintings, sculptures, tragedies, or musical compositions.
quote in a letter to Frédéric Bazille, September 25, 1869; as cited in: Bonafoux (1986, 72), cited in Michael P. Farrell (2003) Collaborative Circles: Friendship Dynamics and Creative Work. p. 42
1850 - 1870
Context: [Chopping wood] is harder than you think, and I'll bet that you would not split much wood... All the same, I have probably not reached the end of my troubles. Here is winter at hand, a season not very pleasant for the wretched. Then comes the Salon. Alas! I still won't be in it, for I shall have done nothing. I have a dream a picture of the bathing spot at the Grenouillere, for which I've made a few poor sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.
Source: A Moveable Feast (1964), Ch. 8: 'Hunger Was Good Discipline'
Context: You got very hungry when you did not eat enough in Paris because all the bakery shops had such good things in windows and people ate outside at tables on the sidewalk so that you saw and smelled the food. When you were skipping meals at a time when you had given up journalism and were writing nothing that anyone in America would buy, explaining at home that you were lunching out with someone, the best place to do it was the Luxembourg gardens... There you could always go into the Luxembourg museum and all the paintings were heightened and clearer and more beautiful if you were belly-empty, hollow-hungry. I learned to understand Cézanne much better and to see truly how he made landscapes when I was hungry.
Article in Modern Review (1936) by a pseudonymous author signing himself "Chanakya", later revealed to have been Nehru himself; as quoted in TIME magazine : "Clear-Eyed Sister" (3 January 1955) http://www.time.com/time/printout/0,8816,892893,00.html & "The Uncertain Bellwether" (30 July 1956) http://www.time.com/time/magazine/article/0,9171,867026-8,00.html
Context: The most effective pose is one in which there seems to be the least of posing, and Jawahar had learned well to act without the paint and powder of an actor … What is behind that mask of his? … what will to power? … He has the power in him to do great good for India or great injury … Men like Jawaharlal, with all their capacity for great and good work, are unsafe in a democracy.
He calls himself a democrat and a socialist, and no doubt he does so in all earnestness, but every psychologist knows that the mind is ultimately slave to the heart … Jawahar has all the makings of a dictator in him — vast popularity, a strong will, ability, hardness, an intolerance for others and a certain contempt for the weak and inefficient … In this revolutionary epoch, Caesarism is always at the door. Is it not possible that Jawahar might fancy himself as a Caesar? … He must be checked. We want no Caesars.
Source: Motivation and Personality (1954), p. 93.
Context: A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself. What a man can be, he must be. This need we may call self-actualization. This term, first coined by Kurt Goldstein, is being used in this paper in a much more specific and limited fashion. It refers to the desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming.
Source: Instructions to his Son and to Posterity (published 1632), Chapter III
Context: Take care that thou be not made a fool by flatterers, for even the wisest men are abused by these. Know, therefore, that flatterers are the worst kind of traitors; for they will strengthen thy imperfections, encourage thee in all evils, correct thee in nothing; but so shadow and paint all thy vices and follies, as thou shalt never, by their will, discern evil from good, or vice from virtue. And, because all men are apt to flatter themselves, to entertain the additions of other men's praises is most perilous. Do not therefore praise thyself, except thou wilt be counted a vain-glorious fool; neither take delight in the praises of other men, except thou deserve it, and receive it from such as are worthy and honest, and will withal warn thee of thy faults; for flatterers have never any virtue — they are ever base, creeping, cowardly persons. A flatterer is said to be a beast that biteth smiling: it is said by Isaiah in this manner — "My people, they that praise thee, seduce thee, and disorder the paths of thy feet;" and David desired God to cut out the tongue of a flatterer.
But it is hard to know them from friends, they are so obsequious and full of protestations; for as a wolf resembles a dog, so doth a flatterer a friend. A flatterer is compared to an ape, who, because she cannot defend the house like a dog, labour as an ox, or bear burdens as a horse, doth therefore yet play tricks and provoke laughter. Thou mayest be sure, that he that will in private tell thee thy faults is thy friend; for he adventures thy mislike, and doth hazard thy hatred; for there are few men that can endure it, every man for the most part delighting in self-praise, which is one of the most universal follies which bewitcheth mankind.
Quote from "The Awe-Struck Witness" in TIME magazine (28 October 1974) http://www.time.com/time/magazine/article/0,9171,908926-1,00.html and in "On the Brink: The Artist and the Seas" by Eldon N. Van Liere in Poetics of the Elements in the Human Condition: The Sea (1985) ed. Anna-Teresa Tymieniecka
Variant translations:
The artist should not only paint what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also omit to paint that which he sees before him.
As quoted in German Romantic Painting (1994) by William Vaughan, p. 68
undated
Context: The artist should not only paint what he sees before him, but also what he sees in himself. If, however, he sees nothing within him, then he should also refrain from painting what he sees before him. Otherwise his pictures will be like those folding screens behind which one expects to find only the sick or the dead.
On painter Rufino Tamayo.
I Used to Believe I Had Forever — Now I'm Not So Sure (1968)
Context: He paints for the blind, and we are the blind, and he lets us see for sure what we saw long ago but weren't sure we saw. He paints for the dead, to remind us that — great good God, think of it — we're alive, and on our way to weather, from the sea to the hot interior, to watermelon there, a bird at night chasing a child past flowering cactus, a building on fire, barking dogs, and guitar-players not playing at eight o'clock, every picture saying, "Did you live, man? Were you alive back there for a little while? Good for you, good for you, and wasn't it hot, though? Wasn't it great when it was hot, though?"
“A painting that is well composed is half-finished.”
“Draw you pleasure, paint your pleasure, and express your pleasure strongly.”
“It's not a matter of painting life, it's a matter of giving life to painting.”
On mortality driving his creative energies (as quoted in [https://www.lacma.org/carlos-almaraz-other-voices “Other Voices: Reflections on Almaraz's Legacy”)
1900s, "The Study of Mathematics" (November 1907)
Fidel Castro Reader, pp. 238
Words to Intellectuals (1961)
As quoted in "Ronald Reagan and Race" https://www.nationalreview.com/2019/08/ronald-reagan-and-race-richard-nixon-tape/ (August 2019), by Jay Nordlinger, National Review
1980s, First term of office (1981–1985)
"Lettre XII: sur M. Pope et quelques autres poètes fameux," Lettres philosophiques (1756 edition)
Variants:
He looked on everything as imitation. The most original writers, he said, borrowed one from another. Boyardo has imitated Pulci, and Ariofio Boyardo. The instruction we find in books is like fire; we fetch it from our neighbour, kindle it as home, communicate it to others, and it becomes the property of all.
Historical and Critical Memoirs of the Life and Writings of M. de Voltaire (1786) by Louis Mayeul Chaudon, p. 348
What we find in books is like the fire in our hearths. We fetch it from our neighbors, we kindle it at home, we communicate it to others, and it becomes the property of all.
As translated in Geary's Guide to the World's Great Aphorists (2008), by James Geary, p. 373
Original: (fr) Ainsi, presque tout est imitation. L’idée des Lettres persanes est prise de celle de l’Espion turc. Le Boiardo a imité le Pulci, l’Arioste a imité le Boiardo. Les esprits les plus originaux empruntent les uns des autres. Michel Cervantes fait un fou de son don Quichotte; mais Roland est-il autre chose qu'un fou? Il serait difficile de décider si la chevalerie errante est plus tournée en ridicule par les peintures grotesques de Cervantes que par la féconde imagination de l'Arioste. Métastase a pris la plupart de ses opéras dans nos tragédies françaises. Plusieurs auteurs anglais nous ont copiés, et n'en ont rien dit. Il en est des livres comme du feu de nos foyers; on va prendre ce feu chez son voisin, on l’allume chez soi, on le communique à d’autres, et il appartient à tous.
"Andrea del Sarto", line 70
"Less is more" is often misattributed to architects Buckminster Fuller or Ludwig Mies van der Rohe. It is something of a motto for minimalist philosophy. It was used in 1774 by Christoph Martin Wieland.
Men and Women (1855)
