Quotes about paint
page 8

“I paint directly – then it's said to be an exact copy; and not art, probably because there's no perspective or shading. It doesn't look like a painting of something, it looks like the thing itself. Instead of looking like a painting of a billboard – the way a w:Reginald Marsh would look – Pop Art seems to be the actual thing. It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool.”

Roy Lichtenstein (1923–1997) American pop artist

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

Art, Way, Painting

“My time's too short to waste on
Things you say without your brain.
Will you paint works of art
When you speak?
When you open your mouth
Will I weep?”

Happy Rhodes (1965) American singer-songwriter

"Words Weren't Made For Cowards"
Warpaint (1991)

Art, Time, Painting

“These collages were static symmetrical constructions, portico's with pathetic vegetation, the gateway to the realm of dreams. They were done with colored paper in black, orange or blue dye plates. Although cubist painting interested me very much, not a trace of their influence was to be found in my collages.”

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

Source: 1960s, Jours effeuillés: Poèmes, essaies, souvenirs (1966), p. 420 - quote on his early collages, Hans Arp made ca. 1914.

Dreams, Color, Painting

“When Alexander McQueen bought the Kate Moss painting, she was really being persecuted. I can't remember the exact timing, but I think it was before the cocaine, when she was just having a hard time with Peter. I think that was when he bought that. I was really pleased because he was such a huge supporter of her. It was so terrible what was happening to her.”

Stella Vine (1969) English artist

Honigman, Ana Finel. "Stella Vine in conversation with Ana Finel Honigman" http://www.saatchi-gallery.co.uk/blogon/2007/07/stella_vine_in_conversation_wi.php, Saatchi Gallery (2007-07-25) On her Kate Moss painting bought by fashion designer Alexander McQueen.

Support, Thinking, Time, Painting

“You know why I go to museums on my day off? It restores my sense of Western Civilization, of History—it gives me a reason to go on… But at the same time I think, "Is this gonna be here 50 years from now, with the Muslims taking over the world? What will they do if they become a majority in America? What, burn the museums, throw the paintings into a bonfire?"”

Michael Savage book The Savage Nation

I mean, I really ask myself how this can go on.
The Savage Nation
The Savage Nation (1995- ), 2015-01-23
Radio
2015

World, History, Thinking, Sense

“Words paint to the imagination but every man forms the thing to himself in his own way.”

Jonathan Richardson (1667–1745) English painter

Essay on the Theory of Painting (1725)

Way, Imagination, Painting

“Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas.”

Dore Ashton (1928–2017) art critic

Dore Ashton, "Fritz Glarner," Art International, vol. 7, no. 1, January 1963, p.51; Republished in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992). European and American Paintings and Sculpturee 1870-1970 in the Australian National Gallery, p. 246

Way, Painting

“The Brahmacharis as the most difficult thing she had ever done…. don't you think I have learnt something from Indian painting?…I don't know whether it is a passing phase or a durable change in my outlook but I see in a more detached manner, more ironically than I have ever done.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

In a latter to Karl Khandalavala in 1937 after she had done three paintings on south Indian villagers - The Bride's Toilet, The Brahmacharis, and South Indian Villagers going to Market.
Sikh Heritage,Amrita Shergil

Thinking, Change, Painting

“Colour is the place where our brain and the universe meet. That's why colour appears so entirely dramatic, to true painters. Look at Sainte-Victoire there [the hill, which Cézanne painted again and again] How it soars, how imperiously it thirsts for the sun!.. For a long time I was quite unable to paint Sainte-Victoire; I had no idea to go about it because, like others who just look at it, I imagined the shadow to be concave, whereas in fact it's convex, it disperses outward from the center. Instead of accumulating, it evaporates, becomes fluid, bluish, participating in the movements of the surrounding air. Just as over there to the right, on the Pilon du Roi, you can see the contrary effect, the brightness gently rocking to and fro, moist and shimmering. That's the sea.... That's one needs to depict. What one needs to know. That's the bath of experience, so to speak…”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 153, in: 'What he told me – I. The motif'

Imagination, Idea, Universe, Appearance

“In art, origin and value cannot be treated as independent. Those who enjoy poetry and painting must be at least dimly aware of a poet beyond the poem and a painter beyond the picture. If by some unimaginable process works of beauty could be produced by machinery, as a symmetrical colour pattern is produced by a kaleidoscope, we might think them beautiful till we knew their origin, after which we should be rather disposed to describe them as ingenious. And this is not, I think, because we are unable to estimate works of art as they are in themselves, not because we must needs buttress up our opinions by extraneous and irrevelant considerations; but rather because a work of art requires an artist. not merely in the order of natural causation, but as a matter of a-sthetie necessity. It conveys a message which is valueless to the recipient, unless it be understood by the sender. It must be expressive.”

Arthur James Balfour (1848–1930) British Conservative politician and statesman

Theism and humanism

Beauty, Art, Nature, Thinking

“Every painter must traverse for himself that distance from Paris to Aix (Aix-en-Provence where Paul Cézanne frequently painted in open air] or from Venice to Toledo [where w:El Greco lived and painted for many years]. Expression is for one knowing its own pivot. Every expressor relates solely to himself – that is the concern of the individualist.”

Marsden Hartley (1877–1943) American artist

statement for catalogue of 'Forum exhibition 1916', reprinted in On art, p. 66-67; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 57
1908 - 1920

Painting

“The freedom is far more important than the money. The endgame is to be an extremely famous artist in lots of museums all around the world so lots of people can see my work for free. I know what I'm making, I know it's good. I will reserve the right to paint the [bombed] bus or anything that is shocking in life. If someone wants to come and shoot me because they find that offensive, they can. As an artist, if you can't take that freedom, you're a wanker.”

Stella Vine (1969) English artist

Smith, David. "Art? It's like the sex trade" http://www.guardian.co.uk/artanddesign/2006/apr/23/art3, The Observer, (2006-04-23) On artistic freedom.

Life, Money, People, World

“Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism.”

Paul Signac (1863–1935) French painter

In a letter to Claude Monet, 1880; quoted by Geffroy: Claude Monet, vol. I, p. 175; as quoted by John Rewald, in Georges Seurat', a monograph https://ia800607.us.archive.org/23/items/georges00rewa/georges00rewa.pdf; Wittenborn and Compagny, New York, 1943. p. 15 In 1880 an exhibition of the works of Claude Monet had - as Signac was to say later - 'decided his career,' - and after his first efforts as an impressionist Signac had ventured to appeal to Monet, writing him this sentence in his letter

Hostility, Happiness, Fear, Way

“I have always criticised violence in my speeches but the way the trouble in just two per cent of the area is blown up and used against us should be countered. Arundhati Roy paints Gujaratis as rapists and then goes scot-free by apologising. Isn't it an insult to Gujarat?”

Narendra Modi (1950) Prime Minister of India

Way, Painting

“In 1891 a student in Paris, I found myself face to face with a beautiful development of landscape painting, which was quite new to me. "Impressionism," together with its numerous progeny of eccentric offshoots, was at the time causing a great furore in the schools. Curiously enough I had been charged with copying Monet's style long before I had seen his actual work, so that my conversion into an enthusiastic Impressionist was short, in fact, an instantaneous process.”

Wynford Dewhurst (1864–1941) British artist

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

School, Beauty, Time, Painting

“An artist who sees that the imitation of natural appearances, however artistic, is not for him – the kind of creative artist who wants to, and has to express his own inner world – sees with envy how naturally and easily such goals can be attained in music, the least material of the arts today. Understandably, he may turn toward it and try to find the same means in his own art. Hence the current search for rhythm in painting, for mathematical abstract construction.... the way colors are set in motion, etc.”

Wassily Kandinsky (1866–1944) Russian painter

1910 - 1915
Source: On the Spiritual in Art, 1911; as quoted in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 15

World, Art, Music, Color

“I am busy working on a large painting with sheep; the last days I am working with real pleasure, the weather is.... not too hot and with nice skies. It's great here!!!! I shout with joy the whole day and more and more I desire to stay here until the end.”

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

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Ik ben druk bezig aan een groot schilderij met schapen, in de laatste dagen ben ik met waar genoegen aan het werk, het weer is.. ..niet al te warm en mooie luchten. 't Is hier heerlijk!!!! Ik jubel steeds en verlang hoe langer hoe meer hier te blijven tot het einde.
In a letter of Mauve, from Laren 1885, to his student nl:Arina Hugenholtz, as quoted by Arina Hugenholtz in In Memoriam Anton Mauve; as cited in Van IJs naar Sneeuw - De ontwikkeling van het wintergezicht in de 19de eeuw, Arsine Nazarian, Juli 2008 Utrecht University; studentnummer: 0360953, p. 85
Mauve's mood was frequently moving between depression and cheerful moods, as many related people knew
1880's

Pleasure, Business, Joy, Painting

“I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself.”

Thomas Eakins (1844–1916) American painter

Letter from Madrid to Benjamin Eakins (1869-12-02).

Nature, Strong, Time, Help

“The thought of becoming a painter never as much as occurred to me. I would have laughed out loud if someone had suggested that I choose painting as a career. To be a painter is not a business, no more than to be an artist, lover, racer, dreamer, or prizefighter. It is a gift of Nature, a gift..”

Maurice de Vlaminck (1876–1958) French painter

Quote of De Vlaminck; as cited in Vlaminck, Klaus G. Perls, The Hyperion Press, New York 1941, p. 51
To support his family of four, De Vlaminck had to find other means by which to earn a living, and ended up taking several other jobs, including working as a billiards players, a writer, a general worker, and even a cyclist
Quotes undated

Lovers, Business, Nature, Painting

“The wastelands belong to my youth [c. 1930's]. When I was young I played in the outskirts of the city - watching the cranes at the harbour. There was no law but garbage, grass and wildflowers like boys and girls, rough, hot and sexual and full of hidden pleasures. Life and death are overlapping in the wastelands like in my paintings.”

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

Appel's quote is referring to his youth in Amsterdam, in the outskirts and the ports of the Dutch city
Source: Karel Appel – the complete sculptures,' (1990), pp. 75-77 'Quotes', K. Appel (1989)

Life, Death, Pleasure, Youth

“I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: it's all over. Basic colors. Every plane is a plane and there is to be no representation.”

Alexander Rodchenko (1891–1956) Russian artist and photographer

Quote in: 'The Death of Painting'; from the MoMA-website: Interactives: texts https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/death_of_painting.html Rodchenko is looking back: in 1921 he executed what were arguably some of the first true monochromes (artworks of one color; source, Wikipedia:Rodchenko)

Color, Painting

“While I was still on the WPA I was submitting designs for the Section of Fine Arts competitions which I did on my own time. Burgoyne Diller gave me a mural to do in the Community Building of the Queensbridge Housing Project on Long Island. I worked on the design and cartoons for about a year. Everything was approved and the walls prepared - casein tempera painted on the wall…. [It was] about 1938. Holger Cahill asked me through Diller to do the outdoor facade mural of the WPA Building at the World's Fair. 1 stopped work on the Queens mural and began working on the Fair mural which was finished on schedule in time for the opening of the Fair.”

Phillip Guston (1913–1980) American artist

n.p.
1961 - 1980, Oral history interview with Philip Guston, 1965 January 29

World, Art, Communication, Time

“1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's”

Robert Rauschenberg (1925–2008) American artist

Source: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, pp. 55-56 : Autobiographic notes

Art, Music, Home, Mountain

“I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with... that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things...'Hope' was just sort of visual thing there, not art.”

Robert Rauschenberg (1925–2008) American artist

1950's, Is today's artist with or against the past, (1958)

Hope, Art, Idea, Thinking

“Senate Democratic leaders have painted a very bleak picture of the U. S. economy. [Senate Minority Leader] Harry Reid was talking about soup lines. And [Senator] Hillary Clinton was talking about the economy being on the verge of collapse. Yet in the same breath they say that Social Security is rock solid and there's no crisis there. How are you going to work – you've said you are going to reach out to these people – how are you going to work with people who seem to have divorced themselves from reality?”

Jeff Gannon (1957) American journalist

January 26, 2005
Questions asked at Press Conferences

People, Reality, Painting

“The Sultan then departed from the environs of the city, in which was a temple of the Hindus. The name of this place was Maharatu-l Hind. He saw there a building of exquisite structure, which the inhabitants said had been built, not by men, but by Genii, and there he witnessed practices contrary to the nature of man, and which could not be believed but from evidence of actual sight. The wall of the city was constructed of hard stone, and two gates opened upon the river flowing under the city, which were erected upon strong and lofty foundations to protect them against the floods of the river and rains. On both sides of the city there were a thousand houses, to which idol temples were attached, all strengthened from top to bottom by rivets of iron, and all made of masonry work; and opposite to them were other buildings, supported on broad wooden pillars, to give them strength.
In the middle of the city there was a temple larger and firmer than the rest, which can neither be described nor painted. The Sultan thus wrote respecting it: - "If any should wish to construct a building equal to this, he would not be able to do it without expending an hundred thousand, thousand red dinars, and it would occupy two hundred years even though the most experienced and able workmen were employed."…
The Sultan gave orders that all the temples should be burnt with naptha and fire, and levelled with the ground.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

About the capture of Mathura. Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 44-45 Also quoted (in part) in Jain, Meenakshi (2011). The India they saw: Foreign accounts.
Quotes from Tarikh Yamini (Kitabu-l Yamini) by Al Utbi

Men, Support, Nature, Strong

“The new plastic idea thus correctly represents actual aesthetic relationships. To the modern artist, it is a natural consequence of all the plastic ideas of the past. This is particularly true of painting, which is the art least bound to contingencies. The picture can be a pure reflection of life in its deepest essence.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Life, Art, Idea, Nature

“The good taste we speak of, which is that of literature, is not limited to what we call the sciences, but extends itself imperceptibly to other arts, such as architecture, painting, sculpture, and music. 'Tis the same discerning faculty which introduces universally the same elegance, the same symmetry, and the same order in the disposition of the parts; which inclines us to a noble simplicity, to natural beauties, and a judicious choice of ornaments. On the other hand, the depravation of taste in arts has been always a mark and consequence of the depravation of taste in literature. … The good taste of literature reaches also to public customs, and the manner of living. An habit of consulting the best rules upon one subject, naturally leads to the doing it also upon others.”

Charles Rollin (1661–1741) French historian

The Method of Teaching and Studying the Belles Lettres, Vol. I, The Third Edition (1742), Part II, Ch. 2: 'General Reflections upon what is called good Taste', pp. 45–46

Beauty, Art, Music, Literature

“I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting… I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too… One day Frank Stella just said to me, 'Look, if you paint another painting I'm going to cut off your hands.' I asked, 'Can't I become a good painter?' Frank said, 'No, because you are a good sculptor now.' That's really my formal education…. the company of artists is the great education. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education.”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 27 - quote referring to his close art-friend, American Minimal Art artist Frank Stella

People, Education, School, Way

“Nearly conscious in someone like Michelangelo, or Paolo Uccello, quite intuitive in painters such as Ingres, or Corot, it works on the basis of numbers which belong to the painting itself, not to whatever it represents.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Painting

“He has had so many people lining up to have their faces painted at previous exhibitions, that other exhibitors, hoping to benefit, have requested being located next to his stand.”

Pricasso (1949) Australian painter

[Barbara Cole, Putting fun back into sex, Daily News, South Africa, 8 February 2008, 5, Independent Online]
About

People, Hope, Painting

“I am favoured with your obliging letter, and shall finish your picture in two or three days at farthest, and send to Colchester according to your order, with a frame. I thank you. Sir, for your kind intention of procuring me a few heads to paint when I come over, which I purpose doing as soon as some of those are finished which I have [now] in hand. I should be glad if you'd place your picture as far from the light as possible; observing to let the light fall from the left.”

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

Quote in Gainborough's letter, 24 Feb. 1757 from Ipswich, to a correspondent in the neighbouring town of Colchester; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 20 1755 - 1769

Light, Painting

“Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and find a new order of things that would restore the balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men's minds.”

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

Dadaland (1948); Quoted in: Cosana Maria Eram (2010) The autobiographical pact: otherness and redemption in four French avant-garde artists, p. 20
Quote of Jean Arp, referring to Swiss Dada in Zurich after 1914.
1940s

Men, War, Age, World

“.. [by making his work 'Onement', in 1948].. from then on I had to give up any relation to nature, as seen [by himself till then]. That doesn't mean that I think my things are mathematical or removed from life. By 'nature' I mean something very specific. I think that some abstractions - for example Kandinsky's - are really nature paintings. The triangles and the spheres or circles could be bottles. They could be trees, or buildings. I think that in 'Euclydean Abyss' and 'Onement' I removed myself from nature. But I did not remove myself from life.”

Barnett Newman (1905–1970) American artist

interview, April 1965, edited for broadcasting by the BBC first published in 'The Listener', Aug. 1972; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 37
1960 - 1970, Interview with David Sylvester 1. Spring 1965

Life, Mathematics, Nature, Thinking

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

School, Art, Way, Drawing

“The artist is obliged to invent the self who will paint his pictures.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 191, "Saul Steinberg"

Painting

“I shall in future be obliged to resign myself to exhibiting them (her paintings) merely at the Grand Salon, Paris, of which I happen to be an Associate and the Salon de Tuileries known all over the world as the representative exhibition of Modern Art, and to which I have been invited to participate in the past, a distinction I may add that few can boast of.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

Statement made when her painting was rejected by the Simla Fine Arts Society in 1935.
Sikh Heritage,Amrita Shergil

World, Art, Past, Future

“In the works I paint [now] I can't see any guarantee that I shall make progress.... while better skilled people [artists] - even though their work does not seem so good at the moment - can move forward much more easily.”

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

translation from the original Dutch, Fons Heijnsbroek
Er is in wat ik maak geen waarborg, dat ik vooruit zal gaan.. ..terwijl beter geschoolde lui, ook al lijkt hun werk op het ogenblik niet zoo goed, veel eer, verder kunnen komen.
Breitner, quoted by Jan Veth, in Portretstudies en silhouetten, J. Veth; Amsterdam 1908, p. 204
Jan Veth is remembering Breitner's remark from an earlier walk they made together
1900 - 1923

People, Painting

“I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's "Rest in the Lord." It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure.”

Thomas Eakins (1844–1916) American painter

Letter to Henry A. Rowland (1897-10-04).

Thinking, Painting

“It proved to be essential to clear the site for the new building. This idea was a forerunner of futurism which exposed the relentless nature of its motivating power. Revolutions had started undercover, everything grew more complicated. Painting economical in its creative output was still very complicated and uneconomical in its expression. cubism and futurism seized upon the purity of form treatment and colour and built a complicated and extensive system with them combining them without any regard for harmony. The rebuilding of life cast aside the old concept of nations classes patriotism and imperialism which had been completely discredited.”

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

1915 - 1925, Suprematism' in World Reconstruction (1920)

Life, Motivation, Idea, Nature

“He dressed up like a clown for them
With his face paint white and red.
And on his best behavior
In a dark room on the bed,
He kissed them all.”

Sufjan Stevens (1975) American singer-songwriter and multi-instrumentalist

Lyrics, Illinois (2005)

Behavior, Kiss, Painting

“advice to a young painter, (1896); as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, pp. 84-85, note 40”

Camille Pissarro (1830–1903) French painter

1890's

Art, Quotes, Universe, Painting

“I did not teach painting but seeing. I concentrated on the basic courses for beginners. I taught drawing (purposely without nudes), color (without any painting as such) and design (as 'structural organization'). And so the graduate students came 'down' to the basic courses for beginners.”

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

Source: Homage to the square' (1964), A conversation with Josef Albers' (1970), p. 459

Color, Drawing, Painting

“As Amish say "There is a vast difference between putting your nose in other people's business and putting your heart in other people's problems,” and there is also a vast difference between using the ‘grammar of language’ and the ‘grammar of painting’. In a language we have subjects, adjectives, verbs, and so on, and in painting we have light, composition, geometric planes, and lines. It is by using this grammar that one can understand a work of art. This is very similar to Ferdinand Saussure’s, distinction between “la langue” and “la parole” for interpretation of written words.”

Guity Novin (1944) artist

Dialogues on enlightenment and reason (2013)

People, Art, Understanding, Business

“In my opinion, so much of it is really about what you had in mind when you got into it: was it only that you wanted to be a rockstar and see your name in lights? I never really had those kinds of dreams. I knew I loved music and I knew that when I sang in a certain way it made my chest and my whole stomach tickle and I liked it. It still does that same thing to me; I know I’m doing it right when it makes my core tingle a little bit. I get the same feeling when I’m painting a picture or when I get into that almost hypnotic state of writing – those things are incredible and those are the kinds of things that attract me to creativity.”

Brandon Boyd (1976) American rock singer, writer and visual artist

When asked about intention for a magazine in Berlin (http://www.pulse-berlin.com/)

Love, Dreams, Music, Way

“English is an outrageous tangle of those derivations and other multifarious linguistic influences, from Yiddish to Shoshone, which has grown up around a gnarly core of chewy, clangorous yawps derived from ancestors who painted themselves blue to frighten their enemies.”

Roy Blount Jr. (1941) American writer

Alphabet Juice (2008), p. 93.

Painting

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker (1876–1907) German artist

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

Happiness, People, Peace, Beauty

“The dinosaur world I grew up in was classical. They were universally seen as scaley herps that inhabited the immobile continents. There was no hint that birds were their direct descendents. Being reptiles, dinosaurs were cold-blooded and rather sluggish except perhaps for the smaller more bird-like examples. They all dragged their tails. Forelimbs were often sprawling. Leg muscles were slender in the reptilian manner. Intellectual capacity was minimal, as were social activity and parenting; the Knight painting of a Triceratops pair watching over a baby threatened by the Tyrant King was a notable exception. Hadrosaurs and especially sauropods were dinosaurian hippos, the latter perhaps too titanic to even emerge on land, and if they did so were limited by their bulk to lifting one foot of the ground at a time. Suitable only for the lush, warm and sunny tropical climate that enveloped the world from pole to pole before the Cenozoic, a cooling climate and new mountain chains did the obsolete archosaurs in, leaving only the crocodilians. Dinosaurs and the bat-winged pterosaurs were merely an evolutionary interlude, a period of geo-biological stasis before things got really interesting with the rise of the energetic and quick witted birds and especially mammals, leading with inexorable progress to the apex of natural selection: Man. It was pretty much all wrong. Deep down I sensed something was not quite right. Illustrating dinosaurs I found them to be much more reminiscent of birds and mammals than of the reptiles they were supposed to be. I was primed for a new view.”

Gregory Scott Paul (1954) U.S. researcher, author, paleontologist, and illustrator

Autobiography, part I http://gspauldino.com/part1.html, gspauldino.com

World, Mountain, Nature, Bird

“I don’t expect any conservatives to recognize the truth of Obama’s fundamental conservatism for at least a couple of decades—perhaps only after a real progressive presidency. In any case, today they are too invested in painting him as the devil incarnate in order to frighten grassroots Republicans into voting to keep Obama from confiscating all their guns, throwing them into FEMA re-education camps, and other nonsense that is believed by many Republicans. But just as they eventually came to appreciate Bill Clinton’s core conservatism, Republicans will someday see that Obama was no less conservative.”

Bruce Bartlett (1951) American historian

2010s, Obama is a Republican (2014)

Truth, Education, Painting

“I'd have to lock the door of the paint room. He wouldn't allow anyone in. I was like a prisoner.”

Margaret Keane (1927) American artist

1999, Cited by Amy M. Spindler

Painting

“A builder. A rough and ready plasterer. A colour grinder. He Courbet is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!... His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish... His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 198 in: 'What he told me – II. The Louvre'

Nature, Tree, Painting, Sea

“Maybe vagueness has been good for me. The word means two different things in Tokyo and Osaka, you know. In Tokyo it means stupidity, but in Osaka they talk about vagueness in a painting and in a game of Go.”

Yasunari Kawabata book The Master of Go

Source: The Master of Go (1951), Ch. 18, p. 76.

Stupidity, Game, Painting

“The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural… Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.”

Ben Nicholson (1894–1982) British painter

"Notes on Abstract Art" in Herbert Read's Ben Nicholson: Paintings, Reliefs, Drawings (London, 1948)

Music, Painting

“Rais'd of themselves, their genuine charms they boast,
And those who paint them truest praise them most.”

Joseph Addison The Campaign

last lines.
The Campaign (1704)

Painting

“I don't know him from a can of paint. I'm 15 years deep. That's how you attack a king? You attack moi? Come on, man. "You got to come correct. You the laughing stock. People are like, 'You can't be serious.”

Timbaland (1972) American record producer, rapper, record executive and singer from Virginia

Elliot in the Morning, about plagiarism controversy http://en.wikipedia.org/wiki/2007_Timbaland_plagiarism_controversy, 2007-02-02

People, Painting

“Paintings are complex puzzles in the twilight world between abstraction and figuration. I use the medium in a simple, unsophisticated way to express what I don't see expressed anywhere else.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

World, Way, Painting

“When I got back [from Le Havre], where I had made several sketches of the harbour exit, I thought of placing the sun in the background. I liked the picture so much that I painted it ten times over, with its three-master and its sun.”

Eugène Boudin (1824–1898) French painter

Quote from Boudin's letter, 1882; as cited in the article 'Artists around Monet http://www.muma-lehavre.fr/en/exhibitions/impressions-sun/artists-around-monet, Muma-museum, Le Havre 1880s - 1890s

Time, Sun, Painting

“I have just finished one painting and am already at work on the preliminary drawings for the next one. I must do something in order to get rid of such habits or I won't manage to find time for any vacation. I have had this new painting in my mind since January, and must get it down on canvas.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from his letter to Freundlich, 15 July 15, 1938; as cited in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 27
1930 - 1944

Time, Drawing, Painting

“QUESTION: A well-known saying of yours asserts that 'Every man is an artist.' If every man is an artist, then why have art academies and art professors at all?
BEUYS: To be sure, 'every man is an artist' in a general sense: one must be an artist for example, to create self-determination. But at a certain stage in his life every man becomes a specialist in a certain way; one studies chemistry, another sculpture or painting, a third becomes doctor, and so on. For this reason we understandably need special schools.”

Joseph Beuys (1921–1986) German visual artist

Götz Adriani, ‎Joseph Beuys, ‎Winfried Konnertz (1979) Joseph Beuys, life and works. p. 255
1970's

Life, School, Art, Way

“It is the act of painting, not the finished painting.”

Georges Braque (1882–1963) French painter and sculptor

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

Painting

“Many paintings are on their way, several half finished, others almost varnished and signed at the bottom. An important point is how a painting succeeds at last; an equally important point is when, how and to whom it is sold. Of these three points, the 'when', at least at this moment, is the most important for me. Then the 'how', in the sense of 'how much' [money]. To 'whom', is a question of wealth or wanton, as someone who had nothing to eat for a long time and then start to think, at whose costs am I going to fill my stomach... How mean! Painters are inferior people. Harsh!”

Gerard Bilders (1838–1865) painter from the Netherlands

version in original Dutch / citaat van Bilders' brief, in het Nederlands: Veel schilderijen staan op stapel, verscheidene half gereed, de andere bijna vernist, met de naam eronder. Een voornaam punt is hoe een schilderij uitvalt, een even voornaam punt wanneer, hoe en aan wie het verkocht wordt. Van deze drie punten is het 'wanneer', op dit ogenblik tenminste, voor mij weer het voornaamste. Vervolgens het 'hoe', in de zin van 'hoeveel'. Aan 'wie', is weelde of brooddronkenheid, als van iemand die lange tijd niets te eten heeft gehad en er dan nog over gaat denken, bij wie hij het liefst zijn buik gaat vullen.. ..Hoe gemeen! Schilders zijn geringe lui. Hard!
Source: 1860's, Vrolijk Versterven' (from Bilders' diary & letters), p. 36 - quote from Bilders' diary, 5 March 1860, (Amsterdam)

Money, People, Way, Question

“Is it true that all I ever write you about is painting and nothing else? Isn't there love in my lines to you and between the lines, shining and glowing and quiet and loving, the way a woman should love and the way your woman loves you?”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Berlin, 4 February 1901; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905

Love, Way, Painting

“I see in painters prose writers and poets. Rhyme, measure, and the turning of verses, which is indispensable and which gives them so much vigor, are analogous to the hidden symmetry, to the equilibrium at once wise and inspired, which governs the meeting or separation of lines and spaces, the echoes of color, etc….. but the beauty of verse does not consist of exactitude in obeying rules... It resides in a thousand secret harmonies and conventions which make up the power of poetry and which go straight to the imagination; in just the same way the happy choice of forms and the right understanding of their relationship act on the imagination in the art of painting.”

Eugène Delacroix (1798–1863) French painter

Quote in Delacroix's Journal of 19 September 1847; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 229
1831 - 1863

Happiness, Secret, Beauty, Art

“This is what you should do: Go to your record store and buy all the GG ALLIN recordings you can find. If they dont have any in stock, tell them to order some. If they refuse, then do what you have to do. Call radio stations and demand GG Allin. Spray paint "GG ALLIN" everywhere. Make them aware that the disease and the Scumfuc tradition is still spreading. Write "GG ALLIN" on all your dollar bills. Any bills you have. People do not throw money away, so it would be a free way to get the message out. You must do it every day of your life. We must live for the Rock 'N' Roll underground. It CAN be dark and dangerous again. It CAN be threatning to our society as it was meant to be. IT MUST BE UNCOMPROMISING. And with me as your leader, it will happen. I am ready to lead you, my allies, into the real Rock 'N' Roll underground. Let's get started.”

GG Allin (1956–1993) American singer-songwriter

GG Allin: GG Allin Mission Statement http://ggallinonline.com/mission.php, GG Allin Online.com, 1991. GG Allin Mission Statement read March 1, 2010.

Life, Money, People, Disease

“I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.”

Alexej von Jawlensky (1864–1941) Russian painter

In his letter, 12 June, 1938 to P. Willibrord Verkade, as quoted in Alexej von Jawlensky, der Maler und Mensch, , Clemens Weiler; Wiesbaden 1955, pp. 39 ff
1936 - 1941

War, World, Art, Soul

“Perhaps he [ Mondrian ] was too faithful to a single discovery. And perhaps that kind of painting was right for the period. But now peace and harmony are no longer possible. There is only anguish.”

Bram van Velde (1895–1981) Dutch painter

1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Peace, Faith, Painting

“The digital revolution changed my process early on in terms of technique, but my early analog drawings and paintings had the same thematic intention as my latest digital work: the attempt to conjure, or render, a glimpse into an enigmatically layered and lively world that I sense and know to be reality, an energetic vibratory world of almost dreadful depth. In this respect, my process of making computer-robotic assisted paintings and animations have, until recently, been made up of an excessive concoction of ambiguous sexual body parts (morphed from both sexes) tied to the viral form. Philosophy has been, and is, a way of freeing myself enough to connect with this depth so as to process the phantasmagorical aspects of reality into art. This process of art making, for me, must hinge on a dynamic engagement and then wedding of image production and image resistance. The idea is to encourage subversive readings of computational media by presenting an artistic consciousness that articulates contemporary concerns regarding safety, truth, identity and objectivity.”

Joseph Nechvatal (1951) American artist

" An Interview with Joseph Nechvatal http://versejunkies.com/?p=6110#," at versejunkies.com. Posted On 10 August 2013.

Truth, World, Art, Sex

“Sylvester: When was it that you first did a painting with one or two simple lines, horizontal or vertical, across the surface?
Newman: I would say that it began in '46— '47. In those years, whenever I did a painting with one or two elements in it, it did always have a sense of an atmospheric background, I suppose — with the exception of a painting which I called Euclidian Abyss, where the background is black and has some of the white coming through, but there's no true atmosphere.”

Barnett Newman (1905–1970) American artist

Source: 1960 - 1970, Interview with David Sylvester 2. Spring 1965, p. 255

Sense, Painting

“If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name.”

Peter Greenaway (1942) British film director

From the seventh book, "The Book of Youth"
The Pillow Book

Life, Painting

“.. and since we are now living in the Summer-time, I don't have a trick to imagine me Winter so strongly that I would be able to paint one [a winter-landscape].... and you must have patience until next winter.”

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

translation from original Dutch: Fons Heijnsbroek (original Dutch, citaat van Schelfhout, uit zijn brief:) ..en daar wij nu in het Zomer leeven zijn heb ik geen truk [truc] van mij de Winter zoo danig voor den geest te halen dat ik in staat zoude zijn er een te kunnen schilderen.. ..en gij zou den gedult moeten nemen tot aanstaande winter. Quote of Schelfhout in a letter to his client nl:Johannes Immerzeel, June 1832; as cited in 'Andreas Schelfhout Onsterfelijk schoon', Simonis & Buunk 2005 https://www.simonis-buunk.nl/wp-content/uploads/2016/06/catalogus_schelfhout.pdf, p. 17

Imagination, Winter, Time, Summer

“What is the secret behind the emotional effect of great works of painting? What laws govern their beauty? Delacroix said that being a feast for the eyes is the prime merit of a good painting. I seek the timeless, the quintessential in painting.”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

Secret, Law, Beauty, Painting

“To paint even a bottle is dramatic. A leaf will do.”

Patrick Swift (1927–1983) British artist

Notebooks

Painting

“But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him, you know, in his early days... But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Painting

“An invisible drawing made in the air. Make a drawing behind your back. Make a stolen painting.”

Jasper Johns (1930) American artist

Book A (sketchbook), p 40, c 1963-64: as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 53
1960s

Drawing, Painting

“Paint here no draped despairs, no saddening clouds
Where the soul rests, proclaims eternity.
But let the wrong cry out as raw as wounds
This Time forgets and never heals, far less transcends.”

Stephen Spender (1909–1995) English poet and man of letters

"In Railway Halls, on Pavements Near the Traffic"

Soul, Time, Painting, Cry

“In my figures [of his famous painting 'Vision After the Sermon'] I have achieved a great simplicity, which is both rustic and superstitious….. In this picture the landscape and the struggle [between Jacob wrestling with the angel ] exist only in the imagination of the people whom the sermon has moved to prayer. That's why there is a contrast between the people, depicted naturally, and the struggle in its unnatural and dis-proportioned landscape.”

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

Source: 1870s - 1880s, The Writings of a Savage (1996), p. 24: quote in his letter to Vincent van Gogh, c. 1888

People, Angels, Imagination, Nature

“.. the great white blanket of snow [in one of his painting of Cemetery / Church in the Snow, mid-1820's].... the essence of the utmost purity, beneath which nature prepares herself for a new life..”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich, mid-1820's; as cited by Sigrid Hinz, Caspar David Friedrich in Briefen und Bekenntnisse, p. 133; as cited in Religious Symbolism in Caspar David Friedrich, by Colin J. Bailey https://www.escholar.manchester.ac.uk/api/datastream?publicationPid=uk-ac-man-scw:1m2225&datastreamId=POST-PEER-REVIEW-PUBLISHERS-DOCUMENT.PDF, paper; Oct. 1988 - Edinburgh College of Art, p. 17 1794 - 1840

Life, Nature, Painting

“The sky is the 'source of light' in nature, and governs every thing. Even our common observations on the weather of every day, are suggested by them, but it does not occur to us. Their difficulty in painting both as to composition and execution is very great, because, with all their brilliancy and consequence, they ought not to come forward, or be hardly thought about in a picture… I know very well what I am about, and that my skies have not been neglected, though they have often failed in execution, no doubt, from an over-anxiety about them, which will alone destroy that easy appearance which nature always has in all her movements.”

John Constable (1776–1837) English Romantic painter

Letter to Rev. John Fisher (23 October 1821), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 229 and also in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 42
1820s

Nature, Light, Appearance, Painting

“When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1985; 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

Hope, Way, Problem, Effort

“I have attempted to develop my thinking in such a way that the work I've done is not me – not to confuse my feelings with what I produced. I didn't want my work to be an exposure of my feelings. Abstract Expressionism was so lively – personal identity and painting were more or less the same, and I tried to operate the same way. But I found I couldn't do anything that would be identical with my feelings. So I worked in such a way that I could say that it's not me. That accounts for the separation.”

Jasper Johns (1930) American artist

Jasper Johns: 'I have attempted to develop my thinking', Vivien Raynor, Artnews 72 no. 3, March 1973, p. 20-22
1970s

Way, Feeling, Thinking, Painting

“[to mr. L. de Haes] Well, go upstairs, you know the way; are you going to take a look? At the moment you will not find many special things, but you find always something; and then we have another chat, anyway. Go ahead, I'll follow you; beware of entering because there is a large painting just in front of the door.”

Paul Gabriël (1828–1903) painter (1828-1903)

translation from the Dutch original: Fons Heijnsbroek
version in original Dutch / citaat van Paul Gabriël, in Nederlands: [tegen L. de Haes] Ga maar naar boven, je weet den weg; kom je eens een kijkje nemen? Er is toevallig op 't oogenblik niet veel bizonders, maar je vindt toch altijd wat; en dan maken we nog een praatje nietwaar; ga je gang, ik volg je wel; pas op met het binnengaan want er staat een groot schilderij voor de deur.
Quote of Gabriël, 1893; as cited by L. de Haes, in 'P.J.C. Gabriël'; published in Elsevier's geïllustreerd maandschrift 3., April/May 1893, pp. 453-473
1880's + 1890's

Way, Painting

“I don't work from drawings and colour sketches into a final painting. Painting, I think, today – the more immediate, the more direct – the greater the possibilities of making a direct – of making a statement.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

Thinking, Drawing, Painting

“In the best painting as in authentic poetry one is aware of moral pressures exerted.. choices are important, moral pressure exists to make right and wrong choices.”

Stanley Kunitz (1905–2006) poet

Unsourced

Painting

“I am now Painter to the King with fifteen thousand reales [a year].... the King sent out an order to Bayeu and Maella to search out the best two painters that could be found, to paint the cartoons for tapestries. Bayeu proposed his brother, and Maella proposed me. Their advice was put before the king, and the favor was done, and I had no idea of what was happening to me.”

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

letter to his friend Don Martín Zapater https://www.wikidata.org/wiki/Q3915977, June 1786; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 81 Goya was already forty then; the four painters should paint the designs of all the new tapestries for the royal palace; their designs were then woven in the Royal Tapestry Factory 1780s

Search, Idea, Painting

“But you begin to feel as you go on working that unless painting proves its right to exist by being critical and self-judging, it has no reason to exist at all - or is not even possible. The canvas is a court where the artist is prosecutor, defendant, jury and judge. Art without a trial disappears at a glance.”

Phillip Guston (1913–1980) American artist

1961 - 1980, ARTnews Annual', October 1966

Art, Feeling, Painting

“He [the painter J. A. Kruseman in Amsterdam] is very amicable with his students without exposing his mastery to disdain. I sometimes see him painting from time to time. And I almost visit daily his studio. You must know that his students don't work in the same room where the big man is staying... Sometimes one or two days pass that he doesn't see our work, he let follow the students their own way most of the time... Thanks God he tells me I have feeling and talent.”

Jozef Israëls (1824–1911) Dutch painter

translation from original Dutch text: Fons Heijnsbroek
version in original Dutch (citaat uit de brief van Jozef Israëls, in het Nederlands): Hij [de schilder J.A. Kruseman te Amsterdam] gaat zeer amical met zijn discipelen om zonder zijn meesterschap aan minachting bloot te stellen. Ik zie hem nu en dan wel eens schilderen. En kom in zijn atelier bijna dagelijksch. Gij moet namenlijk weten dat zijn leerlingen niet in dezelfde kamer zitten te werken waar de groote man zit.. .Soms gaan er wel een of 2 dage voorbij dat hij het werk niet komt zien, hij laat de leerlingen meest hun eigen manier volgen.. .Hij zegt mij Gode zij dank gevoel en dispositie toe..
In a letter of Jozef Israels from Amsterdam, 16 July 1843, to his friend, pharmacist Essingh in Groningen; from R.K.D. Archive, A.S. Kok, The Hague
Quotes of Jozef Israels, 1840 - 1870

God, Way, Feeling, Time

“I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life..”

Per Kirkeby (1938–2018) Danish artist

Source: 1965 - 1995, Bravura', Per Kirkeby, (1982), chapter 'Klee and the Vikings', p. 83

Life, Motivation, Sense, Painting

“I still think that Boccioni was a great artist and a passionate man. I like El Lissitsky's painting very much. But Mondrian that great merciless artist, is the only one who had nothing left over. The point they all had in common was to be both inside and outside at the same time. A new of likeness!... for me to be inside and outside is to be in an unheated studio with broken windows in the winter.”

Willem de Kooning (1904–1997) Dutch painter

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

Thinking, Passion, Winter, Time

“[the double line in his paintings] is still one line, as in the case of your grooves [= the wide sunken lines in the relief's, the artist Gorin made then]... In my last things the double line widens to form a plane, and yet it remains a line. Be that as it may, I believe that this question is one of those which lie beyond the realm of theory, and which are of such subtlety that they are rooted in the mystery of 'art.”

Piet Mondrian (1872–1944) Peintre Néerlandais

But all that is not yet clear in my mind.
Quote in Mondrian's letter to artist Gorin, [who stated that the double line broke the necessary symmetry], 31 January, 1934; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 215
1930's

Lie, Art, Question, Painting

“This afternoon I had put myself down on this sweet spot, very tired of painting [with a view of the old castle of Vorden].... I was completely immersed in thinking of You... I would rather like to.... thank you, dear and beloved Lady, for the right judgments and remarks which You gave me in this [your? ] sweet letter. I solemnly promise you that I will use them for my benefit, and will spent all my powers as an artist, to make your attentions more worthy to me.”

Johannes Warnardus Bilders (1811–1890) painter from the Northern Netherlands

translation from Dutch, Fons Heijnsbroek version in original Dutch (citaat van Johannes Warnardus Bilders' brief, in het Nederlands:) Toen ik heden middag mij zeer vermoeid van 't schilderen op dit lieve plekje had neder gezet [met zicht op het oude kasteel van Vorden].. ..ik was namelijk geheel verdiept in de gedachte aan UE.. .Ik wil liever.. ..bedenken, hoe ik U veel beminde juffrouw, dank zou zeggen, voor de juiste oordeelvellingen en bemerkingen, welke UE mij in dit [uw[?] lieve schrijven gemaakt heb, Ik beloof u plechtig dat ik ze mij ten nutte zal maken, en al mijn krachten als kunstenaar zal in spannen, om uwe atenties mij meer waardig te maken. J.W. Bilders, in his letter [including a sketch by pen of the landscape with the castle, seen from the garden of the hotel where he stayed] to Georgina van Dijk van 't Velde, from Vorden, 1 Sept. 1868; from an excerpt of the letter https://rkd.nl/nl/explore/excerpts/751236 in the RKD-Archive, The Hague 1860's + 1870's

Thinking, Painting

“They [Jawlensky and Münter] often lived here in our Murnau house. But Paul Klee and Franz Marc were also close friends, and August Macke, too, whenever he was in Munich... Klee was never as active a theorist, in those years, as Kandinsky or Marianne de Werefkin. Besides, it took Klee much longer to become a truly and conscious modern artist... As you can see in my portrait of Klee, which is painted in 1913 – I mean the one where he is seen seated in one of the rooms here downstairs and wearing white summer slacks – he is not very communicative. That is why I depicted him all hunched up and tense, as if he were constraining some mainspring within himself. In my eyes, it was almost a portrait of silence rather than of Klee, and for many years it no longer occurred to me that he had been my model. But Klee was always a close friend of ours, and Kandinsky and I had great confidence in his talent and his future.”

Gabriele Münter (1877–1962) German painter

Source: Interview by Edouard Roditi (1958), p. 120

Confidence, Communication, Silence, Future

“What we've lost - 'I said in more or less these terms' - is the proper interest in and taste for detail. We've been noting that for a long time yet the loss is irremediable. In the old days man was everything. A human face was worth a poem. When nature appeared behind a human being it was a kind of backdrop taking the place of the dark background of portrait painters or the gold of the Italian primitives… The day when a separation took place art was diminished. It was transformed the day that the 'subject' and the 'genre' destroyed great painting, denaturing even landscapes.”

Eugène Fromentin (1820–1876) French painter

Quote of Fromentin, as cited by Sarah Anderson in Between Sea and Sahara: An Orientalist Adventure, 'Chapter IV', Eugène Fromentin, (1859); transl. Blake Robinson; publisher I.B. Tauris 2004, p. 4

Art, Nature, Appearance, Loss

“Mayor Helen Zille has shrugged off the news that her portrait has been painted by an 'artist' who uses his penis as a brush, saying it is his constitutional right to exercise his freedom of expression 'in this unusual way.”

Pricasso (1949) Australian painter

[Cape Argus staff, Artist uses a different stroke on Zille portrait, Cape Argus, South Africa, 7 May 2008, 3, Independent Online]
About

Way, Exercises, Freedom, Painting

“You positively paint like a madman.”

Paul Cézanne (1839–1906) French painter

As quoted in: 'Mercure de France', 16 December 1908, p. 607
remark to Vincent van Gogh, ca. 1886 in Paris. Van Gogh showed Cezanne some of his recent paintings, he recently made in Paris
Quotes of Paul Cezanne, 1880s - 1890s

Painting

“My painting represents the victory of the forces of darkness and peace over the powers of light and evil. [1957, reacting on a remark of Picasso ]”

Ad Reinhardt (1913–1967) American painter

1956 - 1967
Source: Pax, no. 13, 1960; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 151

Peace, Light, Evil, Victory

“I was a healthy, strong, cheerful boy, and like to take great walks in and around The Hague... I sometimes got a blow from Nature. And if I got such a blow later, I could draw and paint what I saw. I recorded it in a few scribbles.”

Jan Hendrik Weissenbruch (1824–1903) Dutch painter of the Hague School (1824-1903)

version in original Dutch / citaat van J. H. Weissenbruch, in het Nederlands: Ik was een gezonde, stevige, vroolijke jongen, en maakte graag grote wandelingen in en om Den Haag.. ..Ik kreeg soms een klap van de Natuur. En als ik later die klap had, kon ik teekenen en schilderen, wat ik zag en gezien had. In een paar krabbels legde ik het vast.
Source: J. H. Weissenbruch', (n.d.), p. 21

Boy, Nature, Strong, Drawing

“The greatest moment is when you realize that the painting you've just finished is nothing. When you manage to detach yourself from it.”

Bram van Velde (1895–1981) Dutch painter

1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

Painting

“But please come into my studio; It is now full of works everywhere, you see... Oh, you don't need to be careful; those paintings do fall together frequently; - it doesn't really harm them.”

Suze Robertson (1855–1922) Dutch painter

(version in original Dutch / origineel citaat van Suze Robertson:) Maar komt u binnen op mijn atelier; 't staat er nu overal vol, naar u ziet.. .O, u hoeft niet zoo voorzichtig te weezen [M. J. Brusse komt naar haar atelier voor het interview]; die schilderijen vallen wel meer door elkaar; - 't hindert ze heusch niet..
M. J. Brusse visited Suze's studio in The Hague, for the interview
Source: 1900 - 1922, Onder de Menschen: Suze Robertson' (1912), p. 29

Painting

“Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.... has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”

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

as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
1910 - 1920

Nature, Painting

“Visions are from the imaginative mind, sculpture can come from the found discards in nature, from sticks and stones and parts and pieces, assembled or monolithic, solid form, open form, lines of form, or, like a painting, the illusion of form. And sculpture can be painting and painting can be sculpture..”

David Smith (1906–1965) American visual artist (1906-1965)

1950s, Tradition and Identity' (1959)

Imagination, Nature, Parting, Painting

Quotes about paint page 8

Quotes about paint
page 8