Quotes about paint
page 9

“a couple of days afterwards I was sitting somewhere and painting - when one of these braggarts came up behind me. Well, hey, when you're young, you don't think that's very nice. And suddenly the guy throws his arms around me and roars: 'I sit here all day long plodding away with a pencil - scratching and scratching - and you get it right away!”

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

It was ...Mauve.
as cited on Wikipedia: Willem Maris

Guy, Thinking, Painting

“My clothes are wet, tight on my skin/but not as tight as the corner I painted myself in.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Love and Theft (2001), Mississippi

Painting, Clothes

“My work is in a complete transformation. Lately, in my studio in Amsterdam, 'beings' re-emerge more and more, but I have repainted all the canvases that I have brought with me [from Amsterdam to Paris]. It is matter itself. On the canvas, no discovery, no personal drama, no submission to a rhythm.... freed from 'Victory Boogiewoogie' [title of the last work of Piet Mondrian, 1944], bepop, bepop, we free ourselves from rhythm, we are not there yet, but it is coming... Now I paint stains, bigger stains, colours endlessly reapplied one upon the other, I scrape and I put down new stains of colour unto nothing remains but one great plane, concentrated and linked at the same time, suddenly a vivid red or yellow and the canvas and being merge.”

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

Quote in a letter of Karel Appel from Paris to Aldo van Eyck, October 1950; as quoted in (MR1-85); Karel Appel, a gesture of colour, Jean-François Lyotard, (original French text of 1992 based upon intensive correspondence with Karel Appel), Christine Buci-Glucksmann, Herman Parret; University Press, Leuven, Belgium, 2009, p. 99

Time, Victory, Painting, Personality

“I get accused of many things, promoting pedophilia and stuff like that. I find that extraordinary. I dress myself like I would paint a picture. I try to use that to project how I feel inside. I'm a complete romantic as well, but within traditional romantic images you have so much blatant sexism. So it's all those contradiction mixed up. But that's OK. We should embrace all that instead of tearing each other apart for it. That's what I'm admitting to.”

KatieJane Garside (1968) English singer

On her persona and lyrics, The Los Angeles Times (1992)

Feeling, Tear, Painting

“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors... Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

William Baziotes (1912–1963) American painter

I Cannot Evolve Any Concrete Theory, William Baziotes, in Possibilities, Vol. I, no. 1, New York, winter 1947-48, p. 2
William Baziotes is referring in this quote to Surrealist automatism originally a surrealist art concept
1940s

Color, Way, Sense, Painting

“Unlike Rachel, Player One has a complete overview both of the world and of time. Player One’s life is more like a painting than it is a story. Player One can see everything with a glance and can change tenses at will. Player One has ultimate freedom, the ultimate software on the ultimate hardware. That realm is also the one place where Player One feels, for lack of a better word, normal.”

Douglas Coupland book Player One

Player One (2010)

Life, World, Feeling, Freedom

“Everybody has called Pop Art 'American' painting, but it's actually industrial painting. America was hit by industrialism and capitalism harder and sooner and its values see more askew... I think the meaning of my work is that it’s industrial; it’s what all the world will soon become. Europe will be the same way, soon, so it [Pop Art] won’t be American; it will be universal.”

Roy Lichtenstein (1923–1997) American pop artist

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

World, Art, Way, Thinking

“There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen… And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread.”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 38
1920's, My life (1922)

Truth, Painting

“So all you people here, despite evidence to the contrary, still choose to support a man that for all intents and purposes can't even support himself? OK, OK, so if you're a Jeff Hardy fan, if you're wearing a Jeff Hardy t-shirt, if you're wearing one of his diabolical little handsleeves, God forbid if you have your face painted, I want to see you stand up right now. I want to hear you make some noise! Go ahead, if you love and support Jeff Hardy, let the world know! (Crowd cheers, stands up.) Cameraman, cameraman get a good shot, get a real good shot at all these people. The truth is ladies and gentlemen, I don't blame you. I don't blame anybody here for supporting Jeff Hardy. The people I blame, are their parents. Or let's be realistic here, I said parents, what I should have said was parent. Because it's obviously a single parent situation, just like the way Jeff Hardy grew up. See you people are so concerned with the relationship with your children failing, just like your marriage did, that you acquiesce to their every whim and their every desire. I hate to tell you, this doesn't make you a good parent, Philadelphia, it makes you an enabler. (Crowd boos. Starts chanting for Hardy.) And the fact that you even let your children look up to a guy like Jeff Hardy, just shows that you really don't care what happens to them to begin with. It's a sad situation. So I don't blame anybody here or sitting at home watching this, that supports Jeff Hardy if they're under 17, because they're young and they're, well, they're impressionable. The real problem lies with the parents, it's the parents who don't make a conscious effort to sit their children down and teach them the proper way to live! (Crowd boos.) You see it starts with a Jeff Hardy t-shirt, next thing you know they're smoking a pack of cigarettes, after that, they're drinking a bottle of beer. Right after that they move on to shots of Jack Daniels, which is a gateway drug for marijuana…(Crowd pops for marijuana.) And the fact that you people sit here and cheer that goes to show that I'm telling the truth! How about some old fashioned street drugs? And before you know it they're digging through Mom's purse because they're addicted, they're addicted to prescription medication. (Crowd cheers, Punk mouths,"That's not cool!" to fans.) All of this can be stopped before it's too late! Parents, all you have to do is talk to your children. Sit them down and show them the way, tell them the words that can save their lives, show them that sometimes it's what you don't do that makes you who you are! For weeks, for weeks I've been saying to people like you, just say no. But today I think we should just say yes. Yes to the future of a straight edge, drug free America! Just say yes to the winner of tonight's match, just say yes, to the World Heavyweight Champion! Thank you!”

Phil Brooks (1978) American professional wrestler and mixed martial artist

At Night of Champions 2009
Friday Night SmackDown

Love, God, Hate, Marriage

“.. I think the thing that hit me most of all [at the Pollock-show, 1951] was that while I knew it was a fact, it became a physical necessity to get pictures off the easel, and therefore for me not even on a wall but the reach or fluidity of working from above down into a field [so: on the floor].... But it really registered [later] when I saw his [Pollock's] studio and he unrolled his paintings on the floor that he had painted them on. Now I was never drawn to the idea of a stick dipped in a huge can. One thing I have never liked is a drip, I mean.. it's a kind of boring accident to me, a drip. There are many accidents that are very rich that you use, but if you exploit a drip it's very boring and familiar to begin with. Drips are drips. Whereas blocks have never been drips, and haven't been, but, people don't know blocks the way they know drips. And blocks can become lines, and drips become lines in a very facile, easy way.”

Helen Frankenthaler (1928–2011) American artist

quote about Pollock's drip-painting, 1951
1960s, Interview with Barbara Rose', Archives - American Art, 1968

People, Way, Idea, Thinking

“When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited.”

Thomas Eakins (1844–1916) American painter

Letter to his father, Benjamin Eakins (1867), quoted in Lloyd Goodrich, Thomas Eakins: His Life and Work (1933).

Money, Beauty, Nature, Study

“The problem of a painting is physical and metaphysical the same as I think life is physical and metaphysical.”

Barnett Newman (1905–1970) American artist

Source: 1960 - 1970, Interview with David Sylvester 2. Spring 1965, p. 259

Life, Problem, Thinking, Painting

“You cannot teach painting because everyone's colour sense is different. But drawing.. you either get it right or wrong. You can tell whether people have drawn from life from their pictures.”

L. S. Lowry (1887–1976) British visual artist

Tynes Tees Television Interview 1968

Life, People, Sense, Drawing

“Cubism, Futurism, Expressionism, abstract painting, are only names given to a change which our artistic thinking wants to make and is thinking. Nobody has ever painted fallen raindrops suspended in the air, they've always been depicted as streaks (even the cave-men drew herds of reindeer in the same way). Now people are painting cabs rattling, lights flickering, people dancing, all-in the same way (this is how we all see movement). That is thew whole frightfully simple secret of Futurism. Its very easy to prove its artistic feasibility, for all the philosophizing that has been raised against it. Space, surface and time are different things, which ought not to be mixed together, is the continuous cry. If only it were possible to separate them. I can't do it.”

August Macke (1887–1914) German painter of the expressionist group Der Blaue Reiter

in a letter to philosopher de:Eberhard Grisebach, March 1913; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, pp. 144-45

Men, People, Secret, Way

“When I'am outlining the skin of a lovely peach with soft touches of paint, or a sad old apple, I catch a glimpse in the reflections they exchange of the same mild shadow of renunciation, the same love of the sun, the same recollection of the dew... Why do we divide up the world? Does this reflects our egoism?... The prism is our first step towards God, our seven beatitudes.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 220 in: 'What he told me – III. The Studio'

Love, God, World, Sadness

“The idea that humans form pair bonds, and that males often invest in their young, has a long history in biological anthropology. Early incarnations of the idea were criticized for painting an overly simplistic picture, according to which “Man the Hunter” provisioned his dependent wife and children with meat in a stable nuclear family, suspiciously reminiscent of a 1950s-style Western family. However, with appropriate amendments and qualifications, the idea that pair bonding and biparental care are a central part of our evolutionary endowment appears to be viable.”

Steve Stewart-Williams (1971)

Source: The Ape that Thought It Was a Peacock: Does Evolutionary Psychology Exaggerate Human Sex Differences? (2013), p. 145

Children, Family, History, Idea

“I see the future development of painting taking place in workshops.... not in any holy temple of the arts. Painting is manual labor, no different from any other. It can be done well or poorly.”

George Grosz (1893–1959) German artist

Quoted by William Bolcom, in The End of the Mannerist Century / quoted in Art of the 20th Century, Part 1, Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Christiane Fricke; publisher: Taschen 2000, p. 190

Art, Future, Painting

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 Articles and Interviews

Men, Children, People, World

“There science is dealing with physical facts, in art we are dealing with psychic effects. With this I come to my first statement: 'The source of art – that is, where it comes from – is the discrepancy between physical fact and psychic effect'. That's what I'm talking about. When I want to speak about why I am doing the same thing now, which is squares, for – how long? – 19 years. Because there is no final solution in any visual formulation. Although this may be just a belief on my part, I have some assurances that that is not the most stupid thing to do, through Cezanne whom I consider as one of the greatest painters. From Cézanne we have, so the historians tell us – 250 paintings of Mont St. Victoire. But we know that Cézanne has left in the fields often more than he took home because he was disappointed with his work. So we may conclude he did many more than 250 of the same problem.”

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

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

Stupidity, Art, Disappointment, Home

“To show this later progress in my own work I refer to my [paintings] 'Organ-playing monk', in 1850, my 'Lord's Supper in the Geestes-kerk (church) in Utrecht' in 1852, and my 'Bakenesse-kerk (church) in Haarlem', painted a dozen years later. All three can be found in the museum Fodor and can thus be compared to each other. The preference will undoubtedly be given to the latter, which for its strength and unity is counted among the masterpieces of this [Fodor] collection.”

Johannes Bosboom (1817–1891) Dutch painter

version in original Dutch (citaat van Johannes Bosboom, in Nederlands): Om dien lateren vooruitgang in mijn eigen werk te toonen, verwijs ik naar mijn [werken] 'Orgelspelende monnik' in 1850, mijn 'Avondmaalsviering in de Geesteskerk te Utrecht' in 1852 en mijn 'Bakenessekerk te Haarlem', een tiental jaren later geschilderd - alle drie in het museum Fodor te vinden en dus onderling te vergelijken. De voorkeur zal ongetwijfeld aan het laatste worden toegekend, dat om zijn kracht en éénheid tot de meesterstukjes dezer verzameling gerekend wordt. Quote of Bosboom, in his autobiography, c. 1890; as cited in De Hollandsche Schilderkunst in de Negentiende Eeuw, G. H. Marius; https://ia800204.us.archive.org/31/items/dehollandschesch00mariuoft/dehollandschesch00mariuoft.pdf Martinus Nijhoff, s-’Gravenhage / The Hague, tweede druk, 1920, pp. 108-09 (translation from the original Dutch: Fons Heijnsbroek) 1890's

Painting

“We are freeing ourselves of the impediments of memory, association, nostalgia, legend, myth, or what have you, that have been the devices of western European painting. Instead of making 'cathedrals' out of Christ, man, or 'life', we are making it out of ourselves, out of our own feelings..”

Barnett Newman (1905–1970) American artist

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

Life, Feeling, Nostalgia, Memory

“The better artists are original and obdurate; they're the gravel in the pea soup. ln Jackson Pollock's painting the particularity, the immediacy, is the dripped paint, which remains dripped paint as a phenomenon, for all the beauty of the small shapes it makes it makes. The generality is in the scale or proportion and in the large shapes. It’s in the appearance of chaos. The gesture or the motion shown in the application of the paint varies from painting to painting from the particular to a middling generality. The size and the color generally occur in the middle between particularity and generality. At the same time as Pollock and since, almost all first-rate art has been based on an immediate phenomenon, for example the work of Dan Flavin and Larry Bell.”

Donald Judd (1928–1994) artist

Donald Judd (1987) Complete writings, 1975-1986. p. 35 : Cited in: Marjanovic, Marianne Berger. "To build new ways of talking about the work": Hovedbegreper i Donald Judds kunstteori." (2005).
1980

Beauty, Art, Color, Appearance

“At the opening of the Joburg Sexpo at Gallagher Estate in Midrand yesterday, Patch, who paints under the name Pricasso, elicited gasps of amazement from the hundreds of people who looked on.”

Pricasso (1949) Australian painter

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

People, Painting

“I am most astonished by what has been written about the [painting] 'Alexander', which is so well done that I must suppose there are not many lovers of art [amatori] at Messina. I am also surprised that Your Lordship [Don Antonio Ruffo] should complain as much about the price as about the canvas, but if Your Lordship wishes to return it as he did the sketch [schizzo] of Homer, I will do another Alexander... If Your Lordship likes the Alexander as is, very well. If he does not want to keep it, six hundred florins remain outstanding. And for the Homer [painting] five hundred florins plus the expenses of canvas, it being understood that everything is at Your Lordship's expense. Having agreed to it, would he kindly send me his desired measurements. Awaiting the response to settle the matter.”

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

Quote of Rembrandt's letter, Nov/Dec. 1662, to buyer Don Antonio Ruffo from Messina, Sicily (location: RD, 1662/12, 509); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, NEW YORK 1999, p. 591, & notes 32-36 Rembrant's reaction after complaints of Don Antonio Ruffo, dispatched through the Dutch consul in Messina, Jan van den Broeck, who was on his way to Amsterdam. Once there he was to inform Isaac Just (presumably the intermediary between Rembrandt and the Messina patrician), of the intense dissatisfaction at the work, which Don Ruffo had received. 'The Alexander', he complained, being unacceptably stitched together from four separate pieces, showed seams which were 'too horrible for words.'..g with so many defects.. (Don Ruffo already bought Rembrandt's painting Aristotle with a Bust of Homer c. 1655 and still existing: https://commons.wikimedia.org/wiki/File:Rembrandt_-_Aristotle_with_a_Bust_of_Homer_-_WGA19232.jpg, but 'The Alexander' of Rembrandt is lost). 1640 - 1670

Art, Lovers, Painting

“Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 8, delivered on December 10, 1778; vol. 1, p. 247.
Discourses on Art

Art, Painting

“My idea of paradise is that period just before the sun rises and I’m at home painting or writing songs and everything is flowing. I pray that the sun won’t rise so I can paint and write for ever. That’s my ideal time.”

Pete Doherty (1979) English musician, writer, actor, poet and artist

Mail On Sunday, September 2008
Miscellaneous

Home, Idea, Time, Sun

“No masterpieces in huge frames to worship,
… and yet there are the days
when every street corner rounds itself into
a sunlit surprise, a painting or a phrase,
canoes drawn up by the market, the harbour’s blue,
the barracks. So much to do still, all of it praise.”

Derek Walcott (1930–2017) Saint Lucian–Trinidadian poet and playwright

"A Far Cry from Africa" (1962), White Egrets

Painting

“Not every painter has a gift for painting, in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things, always represent the essential characteristics and emotions of the person he is painting..”

Titian (1488–1576) Italian painter

As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 71.
As quoted in The Quotable Artist (2002) by Peggy Hadden, p. 72.
undated quotes
Variant: They who are compelled to paint by force, without being in the necessary mood, can produce only ungainly works, because this profession requires an unruffled temper.

Peace, Art, Disappointment, Painting

“Probably every portrait photographer resorts to some such "dodge" for making a face lighter or other similar purpose, and he finds that the application of water-color paint in ever so thin a wash makes so much difference to the printing density that blue is commonly used as being a quick printing color, the effect of which is therefore not so great; an equally dense layer of blue and of red to any portion of a negative would print very differently, the red shutting off the light action much more powerfully than the blue.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Fidelity to nature and justifiable untruth, p. 20

Color, Light, Water, Painting

“I have been wanting to write to you for some time, but never have time, so absorbed I am in playing chess. I play night and day and nothing in the whole world interests me more than finding the right move... Nothing transcendental going on here – strikes [in Buenos Aires, where chess competitions were organized that year for not professionals] a lot of strikes, the people are on the move. Painting interests me less and less.”

Marcel Duchamp (1887–1968) French painter and sculptor

a daily life quote, in Duchamp's letter to the Stettheimers family in New York, from Buenos Aires 3 Mai 1919; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 159
1915 - 1925

People, World, Time, Painting

“[As a painting teacher] I'm not flirting, playing around. I'm serious about it... If you don't want to be serious about playing [at art], do something of no account. Go into banking. Buy collar buttons at five cents a dozen and sell them for five cents a piece.”

John Sloan (1871–1951) American painter

Ibid. p. 8.
The Gist of Art (1939)

Art, Teachers, Painting

“Structures of lines, surfaces, forms, colours. They try to approach the eternal, the inexpressible above men. They are a denial of human egotism. They are the hatred of human immodesty, the hatred of images, of paintings.. Wisdom [is] the feeling for the coming reality, the mystical, the definite indefinite, the greatest definite.”

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

Arp's quote from his text in a catalogue of his exhibition, in Zürich 1915; quoted by Arp himself in his text 'Abstract Art, Concrete Art,' Hans Arp, c. 1942; as quoted in Theories of Modern Art: A Source Book by Artists and Critics, by Herschel Browning Chipp, Peter Selz, p. 390
1910-20s

Wisdom, Men, Feeling, Reality

“.. A market, a quay, a river. a gang of soldiers.... is just as good and more history than 'The cousins of Spinoza are visiting him accompanied by their mamma'. O! if I could say some time as Munkaczy: 'I painted almost everything I dreamed when I was 12 years old'. He can tell this, the man which I love as the greatest painter, whatever they may say here [in The Hague]. I hope that you once may see a true painting of me, not one of the many I shall have to make and which are [only] something, but a truly grandiose thing. All wasted fire.”

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

translation from the original Dutch, Fons Heijnsbroek version in original Dutch (citaat van Breitner's brief, in het Nederlands:) ..Een markt een kaai een rivier. een bende soldaten.. ..is net zoo goed en meer geschiedenis dan 'De nichtjes van Spinoza komen hem bezoeken vergezeld door hunne mamma'. O! dat ik nog eens kon zeggen als Munkaczy: ik heb bijna alles geschilderd wat ik droomde toen ik 12 jaar was. dat kan hij zeggen hem die ik voor de grootste schilder hou wat ze hier ook mogen zeggen. Ik hoop dat U nog eens een waar schilderij van me moogt zien, niet een van de velen die ik zal moeten maken en ook wel iets is, maar iets waarachtigsch grootsch. Allemaal verspild vuur. quote of Breitner in a letter to his Maecenas A.P. van Stolk, 28 March 1882; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/597 before 1890

Love, Dreams, Hope, History

“This time the entire floor is covered with cut-up illustrated journals, a new tic and trick of mine (eight days now): I cut out photos from illustrated journals and dissolve them with a chemical solution and swipe and smear them. That is fabulous fun. I have always loved illustrated magazines, perhaps because of their documentary actuality. I have also already made a few attempts to paint something like that in a larger format. Curious to see how it will continue. I am pursuing something which in a certain way resembles the most recent movement: Pop art (from popular), probably came up in America and is now heating up the minds here.”

Gerhard Richter (1932) German visual artist, born 1932

In Richter's letters from Düsseldorf, 10 March 1963 - to two artist friends, Helmut and Erika Heinze
1960's

Love, Art, Way, Photo

“I'm able to paint so nice and thick with those big splodges that stay upright because I mix my own paint. I use the formula that the seventeenth-century painters used and I've added one or two things myself. A very important element is stand oil. I once got hold of a whole barrel full and I'm still using it. There are pots of it in all my studios, in New York, in Connecticut, in Monaco, and in Tuscany. [the oil had been found when an old paint shop closed down, in a] stock that had been there since the seventeenth century... I mix my oil paint with it, and I throw in a lot of eggs and some concentrated turpentine. It's as thick as homemade mayonnaise. When it dries it is as tough and hard as rubber.”

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

Quote from an interview in 'Elsevier', 22 December, 1990; translated and quoted by Frank van der Ploeg, in 'The Low Countries'. Jaargang 12 (2004) http://www.dbnl.org/tekst/_low001200401_01/_low001200401_01_0027.php

Painting

“When Jackson talked about painting he didn't usurp anything that wasn’t himself. He didn't want to change anything, he wasn't using any outworn attitude about it, he was always himself. He just wanted to be in it because he loved it. The response in the person's mind to that mysterious thing that has happened before has nothing to do with 'who did it first'. Tomlin however, did hear these voices and in reference to his early work and its relation to Braque, I like him for that. He was not an academician of Cubism even then; he was an extremely personal and sensitive artist.”

Franz Kline (1910–1962) American painter

1950's, Evergreen Review, 1958

Love, Change, Painting, Personality

“.. Is it indisputable that several aesthetic declarations of our French comrades (the Cubists) display a sort of masked academicism. It is not, indeed, a return to the Academy to declare that the subject, in painting, has a perfectly insignificant value?... To paint from the posing model as an absurdity, and an act of mental cowardice, even if the model be translated upon the picture in linear, spherical and cubic forms..”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Source: 1912, Les exposants au public', 1912, pp. 2, 3.

Painting

“Like me, for instance, who can count so many years in my life when I completely lost all inclination to laugh, leaving aside whether or not this was my own fault, I for one need above all just to have a good laugh. I found that in Guy de Maupassant and there are others here, Rabelais among the old writers, Henri Rochefort among today's, where one can find that — Voltaire in 'Candide'. On the contrary, if one wants truth, life as it is, De Goncourt, for example, in 'Germinie Lacerteux', 'La fille Elisa', Zola in 'La joie de vivre' and 'L'assommoir' and so many other masterpieces paint life as we feel it ourselves and thus satisfy that need which we have, that people tell us the truth. The work of the French naturalists Zola, Flaubert, Guy de Maupassant, De Goncourt, Richepin, Daudet, Huysmans is magnificent and one can scarcely be said to belong to one's time if one isn't familiar with them.”

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

Quote of Vincent, in his letter to sister Willemien van Gogh, from Paris, late October 1887; from letter 574 - original text on vangoghletters online http://vangoghletters.org/vg/letters/let574/letter.html 1880s, 1887

Life, People, Truth, Guy

“.. you see they hung my painting here [on her show 'Wind', 2009] I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter [till 1993], and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called 'Basic Research', they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. [Gerhard] Richter put one up in his studio for some time... But he found it too hard and then took it out after a while.”

Isa Genzken (1948) German sculptor

2001 - 2010, Out to Lunch with Isa Genzken' (2009)

People, Time, Painting

“An epoch can only be reproduced by its own artists, I mean by the artists who lived in it. I hold the artists of one century basically incapable of reproducing the aspect of a past or future century-in other words, of painting the past or the future.”

Gustave Courbet (1819–1877) French painter

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

Past, Future, Painting

“I've already done studies [for his large-scale painting w:The Burial at Ornans ] of the mayor, who weighs 400, the parish priest, the justice of the peace, the cross bearer, the notary Marlet, the assistant mayor, my friends, my father, the choirboys, the grave digger, two old revolutionaries from [17]'93…”

Gustave Courbet (1819–1877) French painter

Remark to Champfleury, (End of 1849); as quoted in Gustave Courbet, by Georges Riat, Parkstone International, 15 Sep 2015,
1840s - 1850s

Peace, Justice, Study, Painting

“Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakspeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakspeare. The thing he looks at reveals not this or that face of it, but its inmost heart and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this too but seeing the thing sufficiently? The word that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakspeare's morality, his valour, candour, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world!”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

Men, Truth, Secret, World

“Here's an interesting experiment: Empty your garage of every piece of metal, wood, paint, rubber, and plastic. Make sure nothing is there. Nothing. Then wait for ten years and see if a Mercedes evolves. Try it. If it doesn't appear, leave it for 20 years. If that doesn't work, try it for 100 years. Then try leaving it for 10,000 years.”

Ray Comfort (1949) New Zealand-born Christian minister and evangelist

God doesn't believe in atheists (2002)

Appearance, Waiting, Painting

“Mondrian? His mind was too subtle. He worked in the light. I work in the darkness... Mondrian is the Buddha of painting. I saw him once. You wondered how a man could radiate such charisma.”

Bram van Velde (1895–1981) Dutch painter

2 April 1967; p. 62
1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

Light, Painting

“The first thing to change in my painting was the color [c. 1908-09]. I forsook natural color for pure color. I had come to feel that the colors of nature cannot be reproduced on canvas. Instinctively I felt that painting had to find a new way to express the beauty of nature.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian about 1905-1910; 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. 40

Beauty, Color, Way, Feeling

“Even the blue-and-white Delftware tile is back up on the wall because, when you took it down, the pale square of paint behind it broke your heart.”

Andrea Lewis (writer) Microsoft employee

“Shored Against My Ruins,” The Southeast Review, Vol. 31, No. 1 (2013)
2010-

Heart, Painting

“The one whom I honor most of all is Rembrandt. Rubens and Velasquez painted better than Rembrandt, but he was the greatest of all painters because he was most powerful humanly. His grasp of all things was from within out. He had something that surpassed all other painters-a great humanity. He is perhaps the only one who could have painted the Christ.”

Fritz von Uhde (1848–1911) German artist

As quoted by Gustav Stickley (1911). The Craftsman http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=article&did=DLDecArts.hdv20n06.i0027&id=DLDecArts.hdv20n06&isize=text, Volume 20. United Crafts, p. 631

Christ, Painting

“After more than five years of the bitterest war in human experience, the last great stronghold of force surrendering to the demands of America and her allies agreed to cast aside the sword and live under the law. America decided that the path of the Mayflower should not be closed. She decided to sail the seas. She decided to sail not under an Edict of Potsdam, cramped in narrow lands, seeking safety in unarmed merchant men painted in fantastic hues as the badge of an infinite servitude; but she decided to sail under the ancient Declaration of Independence, choosing her own course, maintaining security by the guns of her ships of the LINE, flying at the mast the stars and stripes forever, the emblem of a militant liberty.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, America and the War (1920)

Men, War, Law, Star

“My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there... If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff
1906 + 1907

Art, Painting

“My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930.
I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature.
I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials.
I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from.”

Alexander Calder (1898–1976) American artist

Quote (1951), in 'What Abstract Art Means to Me' http://www.jstor.org/stable/4058250, George L. K. Morris, Willem De Kooning, Alexander Calder, Fritz Glarner, Robert Motherwell, Stuart Davis; as cited in the The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, (Spring, 1951), pp. 2-15 1950s - 1960s

Art, Color, Home, Nature

“"High" and "low" are completely arbitrary and artificial distinctions that some bloated assholes invented to make life more complicated. Comics are considered "low", but when Roy Lichtensein comes and picks out one panel of a comic, projects and paints it on a canvas then it's suddenly "high" art? Give me a break. The only thing that I care about in art is quality, intensity. Is a work of art capable of touching and moving me? Does it cause an emotional impact on me? Does it startle, surprise, upset, excite me? Does it make me think? Does it inspire me? Does it stimulate my imagination? Does it change the way I view the world to some degree?”

Gottfried Helnwein (1948) Austrian photographer and painter

Interview by Michal Szyksznian http://www.gottfried-helnwein-interviews.com/interviews/celebritarian.html, celebritarian.pl, 2009

Life, World, Art, Way

“When Hussainji narrated the script [on Gaja Gamini] to me, I couldn´t understand it. And I told him so. So, he worked out a storyboard and then I could visualize the whole film. You know the film is like a painting on celluloid.”

Madhuri Dixit (1967) Indian actress

Quote, When personality comes first.....

Understanding, Painting

“.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542 1920s and later

Men, Art, Way, Painting

“The free placement of the means of expression is a privilege enjoyed exclusively by painting [different opinion with Theo van Doesburg]] ]. The sister arts, sculpture and architecture, are more restricted in this respect. The other arts enjoy even less scope in their employment of the means of expression.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, c. Oct. 1917; as cited in Letters of the great artists, Richard Friedenthal, Thames and Hudson, London, 1963 (transl. Daphne Woodward), p. 237
1910's

Art, Sister, Painting

“What makes a painting fascinating is its sincerity. Sincerity is such a rare thing. Most people don't dare to be sincere.”

Bram van Velde (1895–1981) Dutch painter

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

People, Painting, Sincerity

“They [the holiday-visitors near Le Havre] love my little ladies [paintings] on the beach, and some people say that there's a thread of gold to exploit there.”

Eugène Boudin (1824–1898) French painter

Quote in Boudin's letter to family-friend Ferdinand Martin, from Paris, 12 February 1863; as cited by Colin B. Bailey in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publisher, Metropolitan Museum of Art, New York, 2009, p. 11
1850s - 1870s

Love, People, Holiday, Painting

“These things inside me, they repeat like broken recordsSpinning pretty things behind my eyesAnd when I can't look at youI can paint your picture perfectly in my mindAnd when I get oldI'm gonna miss you all the time.”

Ryan Adams (1974) American alt-country/rock singer-songwriter

Friends
29 (2005)

Time, Painting

“I went to New York in 1936 where I first worked as an assistant to Reginald Marsh as a non-relief artist since I had to await my residency requirement. This was the mural for the Customs House building in New York City. I didn't actually paint on this mural but Marsh asked me to design some lunettes between his panels. Next I went on the WPA mural division. I worked under Burgoyne Diller who was my supervisor, he was, I think, the supervisor of the New York City mural division.”

Phillip Guston (1913–1980) American artist

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

Thinking, Painting, Housing

“Abdul Qadir Badaoni is not an exception. This style of writing, born out of the ingrained prejudice against non-Muslims, is found in all medieval chronicles in various shades of intensity. They denounce non-Muslims. They write with jubilation about the destruction of their temples, massacre of men, raising towers of skulls and such other “achievements”. They also write about the enslavement of women and children, and the licentious life of their captors, their polygamy and concubinage. There is a saying that no man is condemned save by his own mouth. By painting their heroes as cruel and atrocious destroyers of infidelity, Muslim chroniclers themselves have brought odium on the kings and conquerors of their own race and religion, all the while thinking that they were bringing a good name to them.”

K. S. Lal book The Legacy of Muslim Rule in India

Source: The Legacy of Muslim Rule in India (1992), Chapter 3

Life, Women, Men, Children

“If the world could remain within a frame
Like a painting on a wall,
Then I think we would see the beauty, then
We would stand staring in awe
At our still lives posed
Like a bowl of oranges,
Like a story told
By the fault lines and the soil.”

Conor Oberst (1980) American musician

Bowl of Oranges
Lifted or The Story Is in the Soil, Keep Your Ear to the Ground (2002)

World, Beauty, Thinking, Painting

“In exasperation, I furiously attacked the floors and walls of the Moscow Theater. My mural paintings sight there, in obscurity. Have you seen them? Rant and rave, my contemporaries! In one way or another, my first theatrical alphabet gave you a belly-ache. Not modest? I'll leave that to my grandmother: it bores me. Despise me, if you like.”

Marc Chagall (1887–1985) French artist and painter

ca. 1921
Quote from 'Chagall in the Yiddish Theater', Avram Kampf, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 94
1920's

Way, Painting

“The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages - oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky’s collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theatre in Moscow (and a good theater it is at that)?… I am convinced that, were I to stop shaving, you would see in me a deceptive likeness.”

Marc Chagall (1887–1985) French artist and painter

after 1930
Source: 'Shtrom' No. 1, 1922, Marc Chagall; as quoted in 'Chagall and the Jewish art programme', by Grigory Kasovsky
Chagall's quote is explaining his relation to the Jewish society and Jewish art history 'Bletlach' (Leaflet - essay in Yiddish)

School, Boy, Painting

“We must also point out that it is precisely the metaphysical element of painting that provokes the creation of a physical substance that corresponds to its necessities, a material that permits the metaphysical element to manifest itself in the painted form it desires.”

Giorgio de Chirico (1888–1978) Italian artist

Painting

“Weissenbruch to Anton Mauve: He [ Vincent van Gogh ] is drawing damn well, I could paint after his studies.”

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

version in original Dutch, Weissenbruch tegen Anton Mauve: Hij teekent verdomd goed, ik zou naar zijn studies kunnen werken.
a remark to Anton Mauve, who asked Weissenbruch to visit Vincent van Gogh and see his work
Source: J. H. Weissenbruch', (n.d.), p. 44, note 1

Study, Drawing, Painting

“Then I gathered the éléments of what people call my symbolism. I do not understand anything about long words and theories. But I am willing to be a symbolist, if that defines the ideas that Michael Angelo gave me, namely that the essence of sculpture is the modelling, the general scheme which alone enables us to render the intensity, the supple variety of movement and character. If we can imagine the thought of God in creating the world, He thought first of the construction, which is the sole principle of nature, of living things and perhaps of the planets. Michael Angelo seems to me rather to derive from Donatello than from the ancients; Raphaël proceeds from them. He understood that an architecture can be built up with the human body, and that, in order to possess volume and harmony, a statue or a group ought to be contained in a cube, a pyramid or some simple figure. Let us look at a Dutch interior and at an interior painted by an artist of the present day. The latter no longer touches us, because it docs not possess the qualities of depth and volume, the science of distances. The artist who paints it does not know how to reproduce a cube. An interior by Van der Meer is a cubic painting. The atmosphere is in it and the exact volume of the objects; the place of these objects has been respected, the modem painter places them, arranges them as models. The Dutchmen did not touch them, but set themselves to render the distances that separated them, that is, the depth. And then, if I go so far as to say that cubic truth, not appearance, is the mistress of things, if I add that the sight of the plains and woods and country views gives me the principle of the plans that I employ on my statues, that I feel cubic truth everywhere, and that plan and volume appear to me as laws of all life and ail beauty, will it be said that I am a symbolist, that I generalise, that I am a metaphysician? It seems to me that I have remained a sculptor and a realist. Unity oppresses and haunts me.”

Auguste Rodin (1840–1917) French sculptor

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 65-67

Life, God, People, Truth

“Architecture is treated as crystallisation; sculpture, as the organic modelling of the material in its sensuous and spatial totality; painting, as the coloured surface and line; while in music, space, as such, passes into the point of time possessed of content within itself, until finally the external medium is in poetry depressed into complete insignificance.”

Georg Wilhelm Friedrich Hegel book Lectures on Aesthetics

Die Architektur ist dann die Kristallisation, die Skulptur die organische Figuration der Materie in ihrer sinnlich-räumlichen Totalität; die Malerei die gefärbte Fläche und Linie; während in der Musik der Raum überhaupt zu dem in sich erfüllten Punkt der Zeit übergeht; bis das äußere Material endlich in der Poesie ganz zur Wertlosigkeit herabgesetzt ist. Part III https://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm Lectures on Aesthetics (1835)

Music, Time, Painting

“The thing that struck me most was the way he stuck to the motif [in the 'Flag' and 'Target' paintings by Jasper Johns ]…. the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition.”

Frank Stella (1936) American artist

quote, 1960's
Quotes, 1960 - 1970
Source: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, pp. 215-216

Way, Quotes, Idea, Thinking

“Once I saw the village butcher [in his youth, in Russia] slice the neck of a bird and drain the blood out of it. I wanted to cry out, but his joyful expression caught the sound in my throat... This cry, I always feel it there. When, as a I drew a crude portrait of my professor, I tried to rid myself of this cry, but in vain. When I painted the beef carcass it was still this cry that I wanted to liberate. I have still not succeeded.”

Chaim Soutine (1893–1943) painter

remark to his friend and biographer
Source: Soutine et son temps, Emile Szittya, La Bibliothèque des Arts, Paris, 1955, pp. 107-108; as quoted in Chaim Soutine, Catalogue Raisonné, eds. Maurice Tuchman, Esti Dunow, Klaus Perls, Benedikt Taschen Verlag, p. 16

Youth, Feeling, Bird, Painting

“He (Delacroix) turns David [French painter] upside down. His painting is iridescent. Seeing one Constable [famous English landscape painter, admired by French painters, then] is enough to make him understand all the possibilities of landscape, and he too sets up his easel by the sea... And he has a sense of human being, of life in movement, of warmth. Everything moves, every glistens. The light!... There is more warm light in this interior [probably: Delacroix's 'Woman of Algiers'] of his than in all of Corot's landscapes..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

Life, Understanding, Sense, Light

“I paint what you love to hate and what you hate to love.”

Riiko Sakkinen (1976) Finnish visual artist

"Riiko Sakkinen" at riikosakkinen.com

Love, Hate, Painting

“I don't paint things. I only paint the differences between things.”

Henri Matisse (1869–1954) French artist

Je ne peins pas les choses. Je ne peins que les différences entre les choses.
"Henri Matisse: contre vents et marées : peinture et livres illustrés de 1939 à 1943"
1930s

Painting

“[in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began… For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.”

Willem de Kooning (1904–1997) Dutch painter

The Renaissance and Order Trans/formation 1, 1951; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 113.
1950's

Life, Death, Art, Girl

“[the painting 'Yard with Lunatics' shows].. a yard with lunatics, and two of them fighting completely naked while their warder beats them, and others in sacks; (it is a scene I witnessed at first hand in Zaragoza).”

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

letter to his friend Bernardo de Iriarte, 7 Jan, 1794; as quoted by Jane Kromm, in The art of frenzy, 2002, p. 194 https://en.wikipedia.org/wiki/Yard_with_Lunatics The painting 'Yard with Lunatics' (Spanish: Corral de locos) is a small oil-on-tinplate painting completed by Goya between 1793 and 1794; Goya says here that the painting was informed by scenes of institutions he witnessed in his youth in Zaragoza 1790s

Fight, Painting

“To keep it short and simple.... you take the subject, that is for example the wood, and the colour, the paint. You compose the subject, the realistic subject, you make a fantastic shape. For example, here, this is some wood, this is a table with a top and wooden flowers, you know, therefore I paint a [flowery] table, for example..”

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

explaining his way of imagination
Karel Appel defines his painting', interview 1968

Flowers, Painting

“Abstract reason, formerly the servant of practical human reasons, has everywhere become its master, and denies poetry any excuse for existence.
Though philosophers like to define poetry as irrational fancy, for us it is practical, humorous, reasonable way of being ourselves. Of never acquiescing in a fraud; of never accepting the secondary-rate in poetry, painting, music, love, friends. Of safeguarding our poetic institutions against the encroachments of mechanized, insensate, inhumane, abstract rationality.”

Robert Graves (1895–1985) English poet and novelist

"The Case for Xanthippe" in The Crane Bag (1969).
General sources

Love, Music, Way, Fraud

“Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'… After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing.”

Marc Chagall (1887–1985) French artist and painter

Chagall was director of the Art School of Vitebsk, including many conflicts
Quote in his letter to Pavel Davidovitch Ettering, 2 April, 1920, as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 74
1920's

School, Dreams, Art, Painting

“The portrait I have to paint is of…an ambiguous character, a mixture of virtues and vices, a perpetual contrast between good impulses and bad actions.”

Antoine François Prévost (1697–1763) French novelist

J'ai à peindre…un caractère ambigu, un mélange de vertus et de vices, un contraste perpétuel de bons sentiments et d'actions mauvaises.
Avis de l'auteur, p. 30; translation p. 3.
L'Histoire du chevalier des Grieux et de Manon Lescaut (1731)

Painting

“The whole landscape lies behind the transparent gauze of the fog that now rises, drawn upwards by the sun, and as it rises, reveals the silver-spangled river, the fields, the cottages, the further scene. At last one can discern all that one could only guess at before... The sun is up! There is a peasant at the end of the field, with his wagon drawn by a yoke of oxen... Everything is bursting into life, sparkling in the full light – light, which as yet is still soft and golden. The background, simple in line and harmonious in colour, melts into the infinite expanse of sky, through the bluish, misty atmosphere. The flowers raise their heads the birds flutter hither and thither... The little rounded willows on the bank of the stream look like birds spreading their tails. It's adorable! And one paints! And paints!”

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

Corot's description of a morning in Switzerland, Château de Gruyères, 1857, as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963
1850s

Life, Flowers, Bird, Light

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph 1911 - 1914

Color, Drawing, Painting

“A huge dog, tied by a chain, was painted on the wall and over it was written in capital letters ‘Beware of the dog.”
Canis ingens, catena vinctus, in pariete erat pictus superque quadrata littera scriptum ‘Cave canem.’

Petronius book Satyricon

Sec. 29
Satyricon

Dogs, Painting

“We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a colour, a surface. [quote of Van Doesburg, c. 1925]”

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

quoted in 'Abstract Art', Anna Moszynska, Thames and Hudson 1990, p. 107
Hans Arp used some years earlier already this new term: 'concrete art' as a rejection of the term 'abstract art'
1920 – 1926

Quotes, Painting

“People call me the painter of dancing girls. It has never occurred to them that my chief interest in dancers lies in rendering movement and painting pretty clothes.”

Edgar Degas (1834–1917) French artist

"As He Grows Old" (p. 87)
posthumous quotes, Degas: An Intimate Portrait' (1927)

People, Girl, Dance, Painting

“.. can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?... In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting.
'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.... we are dealing with.... a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's text 'Pro tempera oratio', c. 1920; from 'PRO TEMPERA ORATIO' http://www.fondazionedechirico.org/wp-content/uploads/475-480Metafisica5_6.pdf, p. 475 1920s and later

Life, Sense, Painting

“I consider my painting finished when my eyes goes to a particular spot on the canvas. But if I put the picture away about thirty feet on the wall and the movements keep returning to me and the eye seems to be responding to something living, then it is finished.”

William Baziotes (1912–1963) American painter

Source: 1950s, Artists' Session at Studio 35, (1950), p. 213

Painting

“You can't be in an unconscious state and paint. Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you're going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not you put down green, and then you like pink, and you put down pink.
Painting's not about that anymore than music is about this sound and that sound.... And it's something that drives you to expression. And it's irresistible.”

Agnes Martin (1912–2004) American artist

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

Music, Feeling, Painting

“The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.”

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

As quoted in Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194
1921 - 1930

Art, Decision, Painting

“.. As a matter of fact, last winter I was painting on ivory; I've already got a collection of forty studies, but these are original miniatures, of a kind I've never seen before, entirely done with the point of a brush, with details that are closer to the brushwork of Velásquez than to that of Mengs.”

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

1820s

Study, Winter, Painting

“Nothing was ever in tune. People just blindly grabbed at whatever there was: communism, health foods, zen, surfing, ballet, hypnotism, group encounters, orgies, biking, herbs, Catholicism, weight-lifting, travel, withdrawal, vegetarianism, India, painting, writing, sculpting, composing, conducting, backpacking, yoga, copulating, gambling, drinking, hanging around, frozen yogurt, Beethoven, Bach, Buddha, Christ, TM, H, carrot juice, suicide, handmade suits, jet travel, New York City, and then it all evaporated and fell apart. People had to find things to do while waiting to die. I guess it was nice to have a choice.”

Charles Bukowski book Women

Women (1978)

People, Health, Food, Travel

“In Europe at the beginning of the twentieth century, the Fauves – Matisse, Derain – were using bright colours in their full intensity, which continued with Kandinsky, Malevich, Kirchner, Léger and Mondrian. They employed all the colours of the spectrum. In the 1940's and 1950's the majority of the Abstract Expressionists in New York rebelled against this European use of colour and mostly used mixed colours. That is, the Abstract Expressionists did use bright colours sometimes, but they tended to paint wet-on-wet, which muddled their hues. As Matisse would say, a small patch of any one colour is far less intense than a large one of the same colour. I returned in 1954 [from Paris] to New York and showed paintings done in France at the Betty Parsons Gallery in 1956 with bright colours that wouldn’t really be used until the Pop artists in the 1960's. My idea of using colour at its full intensity, which began with Colors for a Large Wall, hasn’t changed in the 60 years that I’ve been painting.”

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

Color, Idea, Change, Painting

“I can't paint the way they want me to paint and they know that too.
Of course you will say that I ought to be practical and ought to try and paint the way they want me to paint. Well, I will tell you a secret. I have tried and I have tried very hard, but I can't do it. I just can't do it! And that is why I am just a little crazy.”

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

As quoted in R.v.R. : Being an Account of the Last Years and the Death of One Rembrandt Harmenszoon Van Rijn (1930) by Hendrik Willem van Loon
undated quotes

Secret, Way, Painting

“What frightful tableaux might present themselves, if one could paint the ideas found in the souls of those who surround the deathbeds? And money is always the mobilizer of the intrigues elaborated, the plans formulated, the conspiracies woven!”

Honoré de Balzac book Gobseck

Quels effroyables tableaux ne présenteraient pas les âmes de ceux qui environnent les lits funèbres, si l'on pouvait en peindre les idées? Et toujours la fortune est le mobile des intrigues qui s'élaborent, des plans qui se forment, des trames qui s'ourdissent! p. 72, 1921 édition https://babel.hathitrust.org/cgi/pt?id=uc1.31158007362832;view=1up;seq=108 Gobseck (1830)

Money, Soul, Idea, Painting

“My dearest little Julie, I love you as I lie dying; I shall still love you when I am dead. I beg of you, do not cry; this parting was inevitable. I would have liked to be with you until you married – Work hard and be good as you have always been; you have never caused me a moment's sorrow in you little life [Julie is 16, then]. You have beauty, good fortune; use them well. I think the best thing would be to live with your cousins in the Rue de Villejust, but I do not wish to force you to do anything. Give a memento of me to you aunt Edma [Berthe's sister], and to your cousins too; and give Monet's [painting] 'Bateaux en reparation' to your cousin Gabriel. Tell M. Degas that if he found a museum he is to choose a Manet [of her Manet paintings]. A keepsake for Monet; one for Renoir, and one of my drawings for Bartolomé. Give something to the two concierges. Do not cry, I love you more than I can tell you.”

Berthe Morisot (1841–1895) painter from France

Quote of Berthe's last letter to daughter Julie, End of Feb. 1895; as cited in Berthe Morisot, Jean-Dominique Rey; translation in English, Flammarion, S.A. (ISBN: 978-2-08-020345-8), Paris, 2016, p. 217
1881 - 1895

Love, Life, Lie, Beauty

“If, then, the things achieved by nature are more excellent than those achieved by art, and if art produces nothing without making use of intelligence, nature also ought not to be considered destitute of intelligence. If at the sight of a statue or painted picture you know that art has been employed, and from the distant view of the course of a ship feel sure that it is made to move by art and intelligence, and if you understand on looking at a horologe, whether one marked out with lines, or working by means of water, that the hours are indicated by art and not by chance, with what possible consistency can you suppose that the universe which contains these same products of art, and their constructors, and all things, is destitute of forethought and intelligence? Why, if any one were to carry into Scythia or Britain the globe which our friend Posidonius has lately constructed, each one of the revolutions of which brings about the same movement in the sun and moon and five wandering stars as is brought about each day and night in the heavens, no one in those barbarous countries would doubt that that globe was the work of intelligence.”
Si igitur meliora sunt ea quae natura quam illa quae arte perfecta sunt, nec ars efficit quicquam sine ratione, ne natura quidem rationis expers est habenda. Qui igitur convenit, signum aut tabulam pictam cum aspexeris, scire adhibitam esse artem, cumque procul cursum navigii videris, non dubitare, quin id ratione atque arte moveatur, aut cum solarium vel descriptum vel ex aqua contemplere, intellegere declarari horas arte, non casu, mundum autem, qui et has ipsas artes et earum artifices et cuncta conplectatur consilii et rationis esse expertem putare. [88] Quod si in Scythiam aut in Brittanniam sphaeram aliquis tulerit hanc, quam nuper familiaris noster effecit Posidonius, cuius singulae conversiones idem efficiunt in sole et in luna et in quinque stellis errantibus, quod efficitur in caelo singulis diebus et noctibus, quis in illa barbaria dubitet, quin ea sphaera sit perfecta ratione.

Marcus Tullius Cicero (-106–-43 BC) Roman philosopher and statesman

Book II, section 34
De Natura Deorum – On the Nature of the Gods (45 BC)

Art, Feeling, Star, Intelligence

“I am now mainly painting faces and landscapes; I am obsessed day and night by the vision of faces and colours. And the spiritual vision is my mystical world.”

Alexej von Jawlensky (1864–1941) Russian painter

Quote of Jawlensky from a letter to his brother Dimitri, c. 1917/18; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994, p. 150
1900 - 1935

World, Painting, Night

“Immediately and definitively [after starting a painting] I determine the effect of sunlight, day and shadow, without being concerned with any detail. This enable me to see in the started painting the whole of it, which my mind already saw before I begun to work - I see it appearing on the panel or canvas rather soon and can consider in this way the harmony of the composed objects and colors.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik bepaal dadelijk en voor vast [nadat ik een schilderij begin] het effect van zonlicht, dag en schaduw, zonder mij met eenige uitvoerigheid op te houden. Hierdoor ben ik in staat gesteld, om in mijne aangelegde schilderij een geheel, dat mijn geest reeds vóór dat ik begon te arbeiden zag, binnen korten tijd op het paneel of doek te zien, en over de harmonie de zamengestelde voorwerpen en kleuren te kunnen oordelen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 99:

Color, Way, Appearance, Painting