Quotes about painter

A collection of quotes on the topic of painter, painting, paint, work.

Quotes about painter

“I perhaps owe having become a painter to flowers.”

Claude Monet (1840–1926) French impressionist painter

“When I was a child my mother said to me, 'If you are a soldier, you will become a general. If you are a monk, you will become the Pope.' Instead, I was a painter, and became Picasso.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

As quoted in Life with Picasso, by François Gilot, 1964, p. 60
1940s

“I am just beginning to understand what it is to paint. A painter should have two lives, one in which to learn, and one in which to practice his art.”

Pierre Bonnard (1867–1947) French painter and printmaker

Painting, Understanding, Learning, Art

“What do you think an artist is? An imbecile who only has eyes, if he is a painter, or ears if he is a musician, or a lyre in every chamber of his heart if he is a poet, or even, if he is a boxer, just his muscles? Far from it: at the same time he is also a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could it be possible to feel no interest in other people, and with a cool indifference to detach yourself from the very life which they bring to you so abundantly? No, painting is not done to decorate apartments. It is an instrument of war.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Life, War, People, World

“I begin with an idea and then it becomes something else. After all, what is a painter? He is a collector who gets what he likes in others by painting them himself. This is how I begin and then it becomes something else.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Quoted in: Ann Livermore (1988), Artists and Aesthetics in Spain. p. 154
Attributed from posthumous publications

Idea, Painting

“There are painters who transform the sun into a yellow spot but there are others who with the help of their art and their intelligence transform a yellow spot into a sun.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

1950s
Source: Sergei Eisenstein (1957), Film form [and]: The film sense, p. 127.

Art, Intelligence, Sun, Help

“You don't need brains to be a painter, just feelings”

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

Interview with Frank & Vicent Tilsley. Lancashire Made them .News Chronicle & Daily Dispatch 1 Dec 1955.
Other

Feeling

“…there is a striking similarity in the surrealist and abstract painters attitude to the object; both have a horror of it in its proper context.”

John Piper (artist) (1903–1992) English painter and printmaker (1903-1992)

Lost, A valuable object, in Myfanwy Piper's anthology-"The Painters Object" 1937

“The mathematician’s patterns, like the painter’s or the poet’s must be beautiful; the ideas like the colours or the words, must fit together in a harmonious way. Beauty is the first test: there is no permanent place in the world for ugly mathematics.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

World, Beauty, Way, Mathematics

“To be white, red, yellow, or black is to be a painter. Today it is not sufficient for the painter to think of colour; he should be colour, feed on colour and transform himself into painting. That is the essential thing. To feel like colour means to carry within oneself the entire range of colours, not as a treasure, but as a trust.”

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

Quote in Van Doesburg's article 'Elementarism', as cited in De Stijl – Van Doesburg Issue, January 1932, pp. 17–19
1926 – 1931

Feeling, Thinking, Painting

“If it is a dying craft we can't do anything about it. Civilisation moves on. Where are all the fresco painters now? Where are the landscape artists? What are they doing now? The world is changing. I have been very fortunate to be able to do the same job for 40 years. That's rare in any era.”

Hayao Miyazaki (1941) Japanese animator, film director, and mangaka

on the topic of hand-drawn animation (2005) The Guardian article http://www.theguardian.com/film/2005/sep/14/japan.awardsandprizes On Animation

World, Change

“You know, a landscape painter's day is delightful. You get up early, at three o'clock in the morning, before sunrise; you go and sit under a tree; you watch and wait. At first there is nothing much to be seen. Nature looks like a whitish canvas with a few broad outlines faintly sketched in; all is misty, everything quivers in the cool dawn breeze. The sky lights up. The sun has not yet burst through the gauze veil that hides the meadow, the little valley, the hill on the horizon... Ah, a first ray of sunshine!”

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

Corot's description of the beginning of a day 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

Nature, Tree, Light, Waiting

“Well, I'm a painter, I was trained as a painter…I seem to have spent a little less time painting than I might've done…But it didn't transcend the feeling of playing at UFO and those sort of places with the lights and that, the fact that the group was getting bigger and bigger.”

Syd Barrett (1946–2006) English musician

Melody Maker, March 1971

Feeling, Light, Time, Painting

“Two artists can suggest two different subject matters and two completely different pictures by using the same spot. Every picture demonstrates certain aspects from the inner life of the painter who made it. For this reason, the orthodox Tachist is wary of letting himself be influenced by Leonardo's famous wall... I grant the painter the right to speak, to laugh, to take a stand and to draw upon all his hallucinatory faculties. But I absolutely refuse to live like a Tachist.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote from 'Max Ernst im Gesprach mit Eduard Roditi' (1967), as cited in Max Ernst, Écritures Paris, 1970, p. 416
1951 - 1976

Life, Drawing

“With what is he concerned? Drawing was at its lowest ebb; it had to be restored. Looking at these nudes, I exclaim, 'Drawing has come back again!'
As a man and painter he sets an example. 'Degas' is one of those rare masters who could have had anything he wanted, yet he scorned decorations, honors, fortune, without bitterness, without jealousy.”

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

Quote of Paul Gauguin, in Avant et après (1903)
1890s - 1910s

Jealousy, Drawing

“I make what it pleases me to make.... I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason. I intuitively paint flags.”

Jasper Johns (1930) American artist

Quote of Jasper Johns, as cited in Trend to the Anti-Art: Targets and Flags, Newsweek 51 no. 13, March 1958, p. 96
1950s

World, Idea, Business, Thinking

“Who sees the human face correctly: the photographer, the mirror, or the painter?”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

“Some painters transform the sun into a yellow spot, others transform a yellow spot into the sun.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Sun

“If you hear a voice within you saying, "You are not a painter," then by all means paint, boy, and that voice will be silenced, but only by working. He who goes to trends and tells his troubles when he feels like that loses part of his manliness, part of the best that's in him; your friends can only be those who themselves struggle against it, who raise your activity by their own example of action.”

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

Quote in his letter from Drenthe, The Netherlands, Oct. 1883, 'Van Gogh's Letters', http://webexhibits.org/vangogh/letter/13/336.htm 1880s, 1883

Feeling, Boy, Silence, Parting

“One should be a painter. As a writer, I feel the beauty, which is almost entirely colour, very subtle, very changeable, running over my pen, as if you poured a large jug of champagne over a hairpin.”

Virginia Woolf (1882–1941) English writer

Source: The Letters of Virginia Woolf: Volume Six, 1936-1941

Beauty, Feeling

“The painter will produce pictures of little merit if he takes the works of others as his standard.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

“Painting it's a blind man profession. Painter is painting not what he sees but what he feels.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Feeling, Painting

“The painter has the Universe in his mind and hands.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

Universe

“A painter should begin every canvas with a wash of black, because all things in nature are dark except where exposed by the light.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

Nature, Light

“The painter who draws merely by practice and by eye, without any reason, is like a mirror which copies every thing placed in front of it without being conscious of their existence.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting

Drawing

“We painters use the same license as poets and madmen.”

Paolo Veronese (1523–1588) Italian painter of the Renaissance

Unsourced variant translation: We painters take the same liberties as poets and madmen.
Testimony to the Inquisition, (1573)

“A group of painters assembled in my home, read with pleasure the article you published in 'L'Avenir national'. We are all very pleased to see you defend ideas which are also ours, and we hope that, as you say, 'L'Avenir national' will kindly lend us its support when the Society we are in the process of forming is finally established.”

Claude Monet (1840–1926) French impressionist painter

in a Letter to , May 1873; as quoted by Sue Roe, The private live of the Impressionists, Harper Collins Publishers, New York, 2006, p. 120
the coming impressionists are starting to form a new artist-group, to organize an independent and concurrent exhibition, as an alternative exhibition for the official yearly (rather classical) Paris Salon
1870 - 1890

Pleasure, Hope, Home, Idea

“With hue like that when some great painter dips
His pencil in the gloom of earthquake and eclipse.”

Percy Bysshe Shelley The Revolt of Islam

Canto V, st. 23
The Revolt of Islam (1817)

“Most Illustrious Lord and My Lord, I received the other day, with due reverence your Lordship's letter, together with the canvas and framing. Having read and noted the contents, I considered them so pretty and ingenious as to require no improvement of any kind; and the more I thought over it the more I became convinced that the greatness of art amongst the ancients was due to the assistance they received from great princes content to leave to the painters the credit and renown derived from their own ingenuity in bespeaking pictures. Can I therefore doubt that, if God enables me to satisfy in any part the wishes of Your Lordship, I shall have all credit for my labour? Yet I shall, after all have done no more than give shape to that which received its spirit — the most essential part — from Your Excellency.”

Titian (1488–1576) Italian painter

In a letter to the Duke Alfonso of Ferrara, From Venice, April 1, 1518; as quoted by J.A.Y. Crowe & G.B. Cavalcaselle in Titian his life and times - With some account ..., publisher John Murray, London, 1877, p. 181-82
1510-1540

God, Art, Reading, Parting

“Pictures are spiritual beings. The soul of the painter lives within them.”

Emil Nolde (1867–1956) German artist

from: Years of Struggle 1902-14' Autobiography Berlin 1934
1921 - 1956

Soul

“I also often hear the word 'evolution'. Repeatedly I am asked to explain how my painting evolved. To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Paris 1923
As quoted by Marius de Zayas, in 'The Arts', New York, May 1923
Quotes, 1920's, "Picasso Speaks," 1923

People, Art, Idea, Change

“In politics, he has always been a republican with advanced Socialist sympathies, and internationalist at heart, and, as they said in the eighteenth century, a "citizen of the world." He has always fought social injustice. In art, he loves, above all, Beethoven, Shakespeare, and Goethe… Rembrandt is the painter dearest to him. But his chosen country is Italy.”

Romain Rolland (1866–1944) French author

On himself, as quoted in World Authors 1900-1950 (1996)

Love, World, Art, Heart

“Traffic with one's higher self. Everyone has his good day, when he finds his higher self; and true humanity demands that we judge someone only when he is in this condition, and not in his workdays of bondage and servitude. We should, for example, assess and honor a painter according to the highest vision he was able to see and portray. But people themselves deal very differently with this, their higher self, and often act out the role of their own self, to the extent that they later keep imitating what they were in those moments. Some regard their ideal with shy humility and would like to deny it: they fear their higher self because, when it speaks, it speaks demandingly. In addition, it has a ghostly freedom of coming or staying away as it wishes; for that reason it is often called a gift of the gods, while actually everything else is a gift of the gods (of chance): this, however, is the man himself.”

Friedrich Nietzsche book Human, All Too Human

Section IX, "Man Alone with Himself" / aphorism 624
Human, All Too Human (1878), Helen Zimmern translation

God, People, Fear, Freedom

“When I look at a building, how can I know there was a builder? Can't see him, hear him, touch him, taste him or smell him, so how can I know there was a builder? Well, the building is absolute proof there was a builder. I couldn't want better proof that there was a builder than to have the building as evidence. I don't need faith to believe in a builder, all I need is eyes that can see and a brain that works. Now the same deep, rich, scientific principle works with paintings and painters…. And the same principle works with God. When I look at Creation how can I know there was a creator? Well, creation is absolute proof there was a creator. I don't need faith to believe in a creator, all I need is eyes that can see and a brain that works.”

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

"The Beauty of a Broken Spirit—Atheism", The Way of the Master season 1 episode 7, 2003-05-12

God, Faith, Painting

“The only influences in [the painting 'The sick Child', Munch painted in his elderly home, remembering very accurate the last days of his dying little sister Sophie] 'The sick Child'.... were the ones that come from my home.... my childhood and my home. Only someone who knew the conditions at home could possibly understand why there can be no conceivable chance of any other place having played a part – my home is to my art as a midwife is to her children.... few painters have ever experienced the full grief of their subject as I did in 'The sick child.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

It was not just I who was suffering; it was all my nearest and dearest as well.
Edvard Munch talks to Jens Tiis, c. 1933, Munch Museum; as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 85-86
after 1930

Children, Art, Home, Understanding

“It isn't up to the painter to define the symbols. Otherwise it would be better if he wrote them out in so many words! The public who look at the picture must interpret the symbols as they understand them.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Picasso (1937), quote in: William Rowlandson (2007), Reading Lezama's Paradiso. p. 115.
Reply by Picasso when he was asked to explain the symbolism in the Guernica.
1930s

Understanding

“I think yet again of my father, who struggled to become a painter after he was forced into early and unwelcome retirement by the Great Depression. He has reason to be optimistic about his new career, since the early stages of his pictures, whether still or portraits or landscapes, were full of pow. Mother, meaning to be helpful, would say of each one: "That's really wonderful, Kurt. Now all you have to do is finish it." He would then ruin it. I remember a portrait he did of his only brother, Alex, who was an insurance salesman, which he called "Special Agent". When he roughed it in, his hand and eye conspired with a few bold strokes to capture several important truths about Alex, including a hint of disappointment. Uncle Alex was a proud graduate of Harvard, who would rather have been a scholar of literature than an insurance man.
When Father finished the portrait, made sure every square inch of masonite had its share of paint, Uncle Alex had disappeared entirely. We had a drunk and lustful Queen Victoria instead. This was terrible.”

Kurt Vonnegut (1922–2007) American writer

Fates Worse than Death (1991)

Truth, Disappointment, Literature, Thinking

“To know in order to do, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my time, according to my own estimation; to be not only a painter, but a man as well; in short, to create living art – this is my goal. (Gustave Courbet, 1855) - note”

Gustave Courbet (1819–1877) French painter

Courbet wrote this 'Realist manifesto' for the introduction to the catalogue of his independent, personal exhibition at the Pavilion of Realism in Paris, outside the 1855 Universal Exhibition. His text is echoing the tone of the period's political manifestos of those days
1840s - 1850s, Realist Manifesto', 1851/1855

Art, Idea, Appearance, Time

“He had no wish to obliterate anything he had written, but he would dearly have liked to revise it, envying painters, who are allowed to return to the same theme time and time again, clarifying and enriching until they have done all they can with it. A novelist is condemned to provide a succession of novelties, new names for characters, new incidents for his plots, new scenery; but, Mr Pinfold maintained, most men harbour the germs of one or two books only; all else is professional trickery of which the most daemonic of the masters — Dickens and Balzac even — were flagrantly guilty.”

Evelyn Waugh book The Ordeal of Gilbert Pinfold

Source: The Ordeal of Gilbert Pinfold (1957), Chapter 1

Men, Books, Time, Success

“It is my misfortune - and probably my delight - to use things as my passions tell me. What a miserable fate for a painter who adores blondes to have to stop himself putting them into a picture because they don't go with the basket of fruit!”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Herschel Browning Chip (1968, p. 267).
(another and longer version:) What a sad fate for a painter who loves blondes, but who refrains from putting them in his picture because they don’t go with the basket of fruit! What misery for a painter who hates apples to be obliged to use them all the time because they go with the cloth! I put everything I love in my paintings. So much the worse for the things, they have only to arrange themselves with one another
Richard Friendenthal (1963, p. 256).
1930s, "Conversations avec Picasso," 1934–35

Fate, Passion

“Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognise them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.”

Rainer Maria Rilke (1875–1926) Austrian poet and writer

Letter to his wife, reprinted in Rilke’s Letters on Cézanne (1952, trans. 1985). (October 21, 1907)
Rilke's Letters

Beauty, Waiting

“A little while ago I took a nap under an olive tree, and the color harmonies I saw were so touching. It's like a paradise you have no right to analyze, but you are a painter, for God's sake! Nice is so beautiful! Alight so soft and tender, despite its brilliance.”

Henri Matisse (1869–1954) French artist

In a letter to a friend, Nice 1918, as quoted in 'Matisse & Picasso', Paul Trachtman, Smithsonian Magazine, February 2003, p. 6
1910s

God, Beauty, Color, Tree

“When I once called myself a “Sunday painter” dabbling in stochastic finance, that was not meant to belittle finance theory as a branch of serious economic theory. Such a peculiar view was expressed again and again by the late Milton Friedman, a dizzy view that I still find incomprehensible.”

Paul A. Samuelson (1915–2009) American economist

New millennium, An Enjoyable Life Puzzling Over Modern Finance Theory, 2009

“The painter goes through states of fullness and evacuation. That is the whole secret of art. I go for a walk in the forest of Fontainebleau. I get 'green' indigestion. I must get rid of this sensation into a picture. Green rules it. A painter paints to unload himself of feelings and visions. People seize on painting to cover up their nakedness. They get what they can wherever they can. In the end I don't believe they get anything at all. They've simply cut a coat to the measure of their own ignorance. They make everything, from God to a picture, in their own image. That is why the picture-hook is the ruination of a painting.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Quotes, 1930's, "Conversations avec Picasso," 1934–35

God, People, Secret, Art

“People say of such-and-such a painter that he has great command of his brush. Might it not be more correct to say that he is controlled of his brush? Merely for the satisfaction of his vanity, to paint brilliantly and display skill with the brush, he has sacrificed the nobler considerations of naturalness and truth – and thus achieved sorry fame as a brilliant technician.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 32
undated

People, Truth, Nature, Painting

“Painting is concerned with all the ten attributes of sight, namely darkness and brightness, substance and colour, form and place, remoteness and nearness, movement and rest; and it is with these attributes that this my small book will be woven, recalling to the painter by what rules and in what way he ought by his art to imitate all things that are the work of nature and the adornment of the world.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter

Books, World, Art, Way

“There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.”

Henri Matisse (1869–1954) French artist

As quoted in obituaries (5 November 1954)
1950s

Painting, Forgetting

“The painter should not paint what he sees, but what will be seen.”

Paul Valéry (1871–1945) French poet, essayist, and philosopher

Mauvaises Pensées et Autres (1941)

Painting

“When Miss Nochlin says: 'If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.' Well, I think the status quo in the arts is fine as it is - in this country [America] at least, women have exactly the same chance that men do. There are the same schools, museums, galleries, books, art stores. There are no obstacles in the way of a woman becoming a painter or sculptor other than the usual obstacles that any artist has to face.”

Elaine de Kooning (1918–1989) American painter

n. p.
1950 - 1971, Why Have There Been No Great Women Artists' - Rosalyn Drexler with Elaine de Kooning (1971)

Women, Men, Books, School

“A painter makes patterns with shapes and colours, a poet with words. A painting may embody an ‘idea’, but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but, […] the importance of ideas in poetry is habitually exaggerated: '… Poetry is not the thing said but a way of saying it.' [In poetry, ] the poverty of the ideas seems hardly to affect the beauty of the verbal pattern.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

Beauty, Way, Idea, Painting

“They are always asking a writer why he does not write like somebody else, or a painter why he does not paint like somebody else, quite oblivious of the fact that if either of them did anything of the kind he would cease to be an artist.”

Oscar Wilde book The Soul of Man under Socialism

The Soul of Man Under Socialism (1891)

Painting

“How I miss you here [his friend in Paris - Manet visited Madrid and the famous museums there], and how delighted you would have been to see Velázquez, who in himself alone is worth the journey... He is the painter of painters. He did not astonish me, but delighted me.”

Edouard Manet (1832–1883) French painter

Quote from Manet's letter to Fantin-Latour, Madrid 1865, as quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, (translation Daphne Woodward), p. 118
1850 - 1875

“At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.”

Jean-Michel Jarre (1948) French composer, performer and music producer

interviewed on the Danish Monitor radio programme 2005-11-30

People, Music, Idea, Problem

“The painter strives and competes with nature.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), IX The Practice of Painting

Nature

“To me the motif itself is an insignificant factor; what I want to reproduce is what lies between the motif and me... Other painters paint a bridge, a house, a boat... I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible.”

Claude Monet (1840–1926) French impressionist painter

Claude Monet, in an interview, 1895; as quoted in: Paul Hayes Tucker et al. (eds). (1999) Monet in the Twentieth Century. London: Royal Academy of Arts/Boston: Museum of Fine Arts. As cited in: Steven Connor, " About There, or Thereabouts http://www.stevenconnor.com/aboutthere/aboutthere.pdf." talk given at the Catalysis conference on Space and Time, Downing College, Cambridge, 23rd March 2013. 1890 - 1900

Beauty, Painting, Housing

“Does the painter imitate the body correctly if he guides his brush without any method, and if his hand is moved at random and the lines are not drawn with art? In the same way you will not put the sentiment of your mind in front of the others’ eyes unless you use appropriate and distinct words, a fitting arrangement of words and the right order of sentences. For, just as we represent bodies by colours, we represent the sentiment of our mind by speech.”

Philip Melanchthon (1497–1560) German reformer

Source: Praise of Eloquence (1523), p. 63

Art, Way

“The ultimate goal of all visual artistic activity is construction! Architects, painters and sculptors must learn again to know and understand the multi-faceted form of building in its entirety as well as its parts. Only then will they of their own accord fill their works with the architectonic spirit they have lost in the art of the salon. Let us establish a new guild of craftsmen without the presumption of class distinctions building a wall of arrogance between craftsmen and artists. Together let us call for, devise and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

Manifesto (1919)

Art, Understanding, Learning, Future

“I am surrounded by a small group of young landscapists who will be very happy get to know you. Besides, they are real painters… I find myself very well fixed here. I am drawing figures at hard. And at the Academy, there are only landscapists. They begin to perceive that it's a good thing.”

Claude Monet (1840–1926) French impressionist painter

Quote of Monet, 1859 in a letter to his mentor Eugène Boudin; as cited in: John Rewald (1961) The History of Impressionism - Volume 1. p. 48
1850 - 1870

Drawing, Happiness

“If a painter once devoted himself to dynamism and now abandons it, denies it and even criticizes it, it is his own business. This does not mean, however that futurism has had his day. It is always worthy of interest and many artists still work in its ranks with unchanged passion. Dynamism is in life and in nature itself.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Source: So I think, so I paint (1947), p. 112

Life, Business, Nature, Passion

“Art itself cannot be taught, but craftsmanship can. Architects, painters, sculptors are all craftsmen in the original sense of the word. Thus it is a fundamental requirement of all artistic creativity that every student undergo a thorough training in the workshops of all branches of the crafts.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

As quoted in Paul Klee, 1879-1940 (2000) by w:Susanna Partsch, p. 47

Art, Sense, Training

“I say that the eye is not open when it is limited to the passive role of a mirror – even if the water of that mirror offers some interesting peculiarities.... that eye impresses me as no less dead than the eye of a slaughtered steer if it has only the capacity to reflect – what if it reflects the object in one or in many aspects, in repose or in motion, in waking or in dream? The treasure of the eye is elsewhere! Most artists are still for tuning around the hands of the clock.... without having the slightest concern for the spring hidden in the opaque case. The eye-spring.... Arshile Gorky – for me the first painter to whom the secret have been completely revealed.”

André Breton (1896–1966) French writer

Breton's quote in the Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as quoted in Arshile Gorky, – Goats on the roof, ed. by Matthew Spender, Ridinghouse, London, 2009, pp. 257-258
after 1930

Secret, Dreams, Spring, Water

“The center of intellectual self-discipline as such is in the process of decomposition. The taboos that constitute a man’s intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check. What is true of the instinctual life is no less of the intellectual: the painter or composer forbidding himself as trite this or that combination of colors or chords, the writer wincing at banal or pedantic verbal configurations, reacts so violently because layers of himself are drawn to them. Repudiation of the present cultural morass presupposes sufficient involvement in it to feel it itching in one’s finger-tips, so to speak, but at the same time the strength, drawn from this involvement, to dismiss it. This strength, though manifesting itself as individual resistance, is by no means of a merely individual nature. In the intellectual conscience possessed of it, the social movement is no less present than the moral super-ego. Such conscience grows out of a conception of the good society and its citizens. If this conception dims—and who could still trust blindly in it—the downward urge of the intellect loses its inhibitions and all the detritus dumped in the individual by barbarous culture—half-learning, slackness, heavy familiarity, coarseness—comes to light. Usually it is rationalized as humanity, desire to be understood by others, worldly-wise responsibility. But the sacrifice of intellectual self-discipline comes much too easily to him who makes it for us to believe his assurance that it is one.”

Theodor W. Adorno book Minima Moralia

Das Zentrum der geistigen Selbstdisziplin als solcher ist in Zersetzung begriffen. Die Tabus, die den geistigen Rang eines Menschen ausmachen, oftmals sedimentierte Erfahrungen und unartikulierte Erkenntnisse, richten sich stets gegen eigene Regungen, die er verdammen lernte, die aber so stark sind, daß nur eine fraglose und unbefragte Instanz ihnen Einhalt gebieten kann. Was fürs Triebleben gilt, gilt fürs geistige nicht minder: der Maler und Komponist, der diese und jene Farbenzusammenstellung oder Akkordverbindung als kitschig sich untersagt, der Schriftsteller, dem sprachliche Konfigurationen als banal oder pedantisch auf die Nerven gehen, reagiert so heftig gegen sie, weil in ihm selber Schichten sind, die es dorthin lockt. Die Absage ans herrschende Unwesen der Kultur setzt voraus, daß man an diesem selber genug teilhat, um es gleichsam in den eigenen Fingern zucken zu fühlen, daß man aber zugleich aus dieser Teilhabe Kräfte zog, sie zu kündigen. Diese Kräfte, die als solche des individuellen Widerstands in Erscheinung treten, sind darum doch keineswegs selber bloß individueller Art. Das intellektuelle Gewissen, in dem sie sich zusammenfassen, hat ein gesellschaftliches Moment so gut wie das moralische Überich. Es bildet sich an einer Vorstellung von der richtigen Gesellschaft und deren Bürgern. Läßt einmal diese Vorstellung nach—und wer könnte noch blind vertrauend ihr sich überlassen—, so verliert der intellektuelle Drang nach unten seine Hemmung, und aller Unrat, den die barbarische Kultur im Individuum zurückgelassen hat, Halbbildung, sich Gehenlassen, plumpe Vertraulichkeit, Ungeschliffenheit, kommt zum Vorschein. Meist rationalisiert es sich auch noch als Humanität, als den Willen, anderen Menschen sich verständlich zu machen, als welterfahrene Verantwortlichkeit. Aber das Opfer der intellektuellen Selbstdisziplin fällt dem, der es auf sich nimmt, viel zu leicht, als daß man ihm glauben dürfte, daß es eines ist.
E. Jephcott, trans. (1974), § 8
Minima Moralia (1951)

Life, Color, Feeling, Nature

“We were outcasts, roughly expressionist painters not acceptable to most dealers and collectors.(A reference to the TEN group of painters).”

Adolph Gottlieb (1903–1974) American artist

1950s, Conversations With Artists, 1957

“A mathematician, like a painter or a poet, is a maker of patterns. If his patterns are more permanent than theirs, it is because they are made with ideas.”

G. H. Hardy book A Mathematician's Apology

A Mathematician's Apology (1941)

Idea

“In this big moonlit landscape by the painter N. N., that deservedly celebrated technician, one sees more than one would wish, or that can actually be seen by moonlight. But what the perceptive, sensitive soul looks for in every painting, and rightly expects to find, is missing.... If that painter could find it in himself to paint fewer, but more deeply-felt, pictures instead of so many clever ones, his contemporaries and posterity would be more grateful to him.”

Caspar David Friedrich (1774–1840) Swedish painter

Soul, Painting

“I should not ask anything better, but when it is a question of several painters living in community life, I stipulate before everything that there must be an abbot to keep order, and that would naturally be Gauguin. That is why I would like Gauguin to be here [in Arles ] first... If I can get back the money already spent which you [Theo] have lent me for several years, we will launch out, and try to found a studio for a renaissance and not for a decadence.”

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

Quote in his letter to brother Theo, from Arles, Autumn 1888; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 544), p. 37 1880s, 1888

Life, Money, Communication, Question

“When I write these notes, it is not to describe my own life. I am writing a study of the soul as I observe myself closely and use myself as an anatomical testing-ground. It would therefore be wrong to look on these notes as confessions. I have chosen – in accordance with Søren Kierkegaard – to split the work into two parts; the painter and his distraught friend the poet. Just as Leonarda da Vinci studied the recesses of the body and dissected human cadavers, I try from self-scrutiny to dissect what is the universal in the soul”

Edvard Munch (1863–1944) Norwegian painter and printmaker

written after 1908
in The Mad Poet's Diary, T 2734
1896 - 1930

Life, Soul, Study, Universe

“My wife is a painter, and a very good one… and we’ve been working together for, oh, twelve years now, I guess…and at first I used to help and criticize things she was doing, and then she would help and criticize things I was doing, and we would… pitch in and do all the jiggering for each other and get it as people do… and then, gradually, things begin to sort of, you know, entropy… things began to get shuffled, and pretty soon you didn’t know, sort of, where one started and the other ended, and anything that we’ve looked at or talked about here, you know, I say that I’m doing it, but actually, she’s doing it just as much as I am, only she sort of goes under the same corporate type name…”

Charles Eames (1907–1978) American designer, half of duo the Eames

Charles Eames in a 1952 speech to a national assembly of the AIA; As cited in: Ray Eames http://eamesdesigns.com/library-entry/ray-eames/ at eamesdesigns.com, Accessed April 8, 2014; Charles Eames talks about Ray Eames

People, Help

“Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than Sargent thinks. But he went on to agree that impressionists had noted how strong”

Claude Monet (1840–1926) French impressionist painter

Quote of Monet; as cited in Stephen Lucius Gwynn Claude Monet and His Garden: The Story of an Artist's Paradise, Macmillan, 1934, p. 69: Comment by Monet to the English biographer Sir Evan Charteris.
after Monet's death

Question, Thinking, Strong

“To me, a painter, if not the most useful, is the least harmful member of our society.”

Man Ray (1890–1976) American artist and photographer

In response to criticism of controversial paintings, in Self Portrait (1963), p. 342
Context: There is … your high bridge in Pasadena from which every once in a while someone jumps off, committing suicide. There is no question of removing the bridge. Poems have been written by well-known authors that are supposed to have driven love-sick young people to suicide. These works are not banned. Thousands lose their lives in automobile accidents, yet nothing is done to restrain manufacturers from building lethal instruments that can do more than 30 miles an hour. To me, a painter, if not the most useful, is the least harmful member of our society. An unskilled cook or doctor can put our lives in danger. l have tried … to paint a picture that would, like the beautiful head of Medusa, turn the spectator to stone … so that certain ones who looked at it would drop dead … but l have not yet succeeded!

“Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction.”

Saul Bellow (1915–2005) Canadian-born American writer

"The Distracted Public" (1990), p. 167
It All Adds Up (1994)
Context: Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction. To this we must add, for simple realism demands it, that these same writers, painters, etc., are themselves the children of distraction. As such, they are peculiarly qualified to approach the distracted multitudes. They will have experienced the seductions as well as the destructiveness of the forces we have been considering here. This is the destructive element in which we do not need to be summoned to immerse ourselves, for we were born to it.

“As we see a future Painter in the boy who fills every wall with sketches and variedly adds colour to figure; so we see a future Philosopher in him who restlessly traces and questions all natural things, pays heed to all, brings together whatever is remarkable, and rejoices when he has become master and possessor of a new phenomenon, of a new power and piece of knowledge.”

Novalis (1772–1801) German poet and writer

Pupils at Sais (1799)
Context: Not wise does it seem to attempt comprehending and understanding a Human World without full perfected Humanity. No talent must sleep; and if all are not alike active, all must be alert, and not oppressed and enervated. As we see a future Painter in the boy who fills every wall with sketches and variedly adds colour to figure; so we see a future Philosopher in him who restlessly traces and questions all natural things, pays heed to all, brings together whatever is remarkable, and rejoices when he has become master and possessor of a new phenomenon, of a new power and piece of knowledge.

Boy, Question, Nature, Knowledge

“The painter's only solid ground is the palette and colors, but as soon as the colors achieve an illusion, they are no longer judged.”

Pierre Bonnard (1867–1947) French painter and printmaker

Color

“Only when he no longer knows what he is doing does the painter do good things.”

Edgar Degas (1834–1917) French artist

Quoted in Artists on Art: From the XIV to the XX Century, ed. Robert Goldwater (Pantheon, 1945)
quotes, undated

“I didn’t know that painters and writers retired. They’re like soldiers – they just fade away.”

Lawrence Ferlinghetti (1919) American artist, writer and activist

“Damn everything but the circus!… The average 'painter' 'sculptor' 'poet' 'composer' 'playwright' is a person who cannot leap through a hoop from the back of a galloping horse, make people laugh with a clown's mouth, orchestrate twenty lions.”

E.E. Cummings (1894–1962) American poet

People, Horse, Personality

“That I was not suited to commerce or academic study in no way proves that I should also be unfit to be a painter.”

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

Way, Study

“Prince or commoner, tenor or bass,
Painter or plumber or never-do-well,
Do me a favor and shut your face -
Poets alone should kiss and tell.”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

Source: The Collected Dorothy Parker

Kiss

“The painter constructs, the photographer discloses.”

Susan Sontag book On Photography

Source: On Photography

“You have understood what all great painters understand: in order to forget the rules, you must know them and respect them.”

Paulo Coelho (1947) Brazilian lyricist and novelist

Source: The Witch Of Portobello

Understanding, Forgetting

“I never wanted to be a painter; I wanted to be a tap dancer.”

Andy Warhol (1928–1987) American artist

“A poet is a painter in his way, he draws to the life, but in another kind; we draw the nobler part, the soul and the mind; the pictures of the pen shall outlast those of the pencil, and even worlds themselves.”

Aphra Behn book Oroonoko

Source: Oroonoko

Life, World, Way, Soul

“Atheists don't hate fairies, leprechauns, or unicorns because they don't exist. It is impossible to hate something that doesn't exist. Atheists — like the painting experts hated the painter — hate God because He does exist.”

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

You Can Lead an Atheist to Evidence, But You Can't Make Him Think (2009)
Source: You Can Lead an Atheist to Evidence, But You Can't Make Him Think: Answers to Questions from Angry Skeptics

God, Hate, Painting

“I am a painter with letters. I want to restore everything, mix everything up and say everything.”

Jean-Luc Godard (1930) French-Swiss film director, screenwriter and film critic

“Just as a painter needs light in order to put the finishing touches to his picture, so I need an inner light, which I feel I never have enough of in the autumn.”

Leo Tolstoy (1828–1910) Russian writer

Feeling, Autumn, Light

“I understood that I was inventing myself, and that I was doing this more in the way of a painter than in the way of a scientist. I could not count on precision or calculation; I could only count on intuition.”

Jamaica Kincaid Lucy

Source: Lucy

Way

“The best musicians transpose consciousness into sound; painters do the same for color and shape.”

Haruki Murakami book Hard-Boiled Wonderland and the End of the World

Source: Hard-Boiled Wonderland and the End of the World

Color

“I’ve always felt that a lot of modern art is a con, and that the most successful painters are often better salesmen and promoters than they are artists.”

Donald J. Trump book Trump: The Art of the Deal

Source: Trump: The Art of the Deal

Art, Success

“You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces.”

Suzanne Collins book Mockingjay

Source: Mockingjay

Sleep, Tea

“Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairy tale 'til its appropriate liberator comes to set it free.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Princess

“A writer should write with his eyes and a painter paint with his ears.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

What Are Masterpieces and Why Are There So Few of Them (1936), Afterword of a later edition

Painting

“Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.”

John Ciardi (1916–1986) American poet, professor, translator

Art, Girl, Idea

“You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea and you always double knot your shoelaces.' I fight back. Then I dive back into my tent before I do something stupid like cry.”

Suzanne Collins book Mockingjay

Variant: But more words tumble out. 'You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces.'

Then I dive into my tent before I do something stupid like cry.
Source: Mockingjay

Stupidity, Sleep, Fight, Tea

“Is this really true? If we take an average day in the life of the average man we seem to see very little evidence of concern with the sciences and the arts. The average man gets up, goes to work, eats his meals, reads the newspapers, watches television, goes to the cinema, goes to bed, sleeps, wakes up, starts all over again. Unless we happen to be professional scientists, laboratory experiments and formulae have ceased to have any meaning for most of us; unless we happen to be poets or painters or musicians—or teachers of literature, painting, and music—the arts seem to us to be only the concern of schoolchildren. And yet people have said, and people still say, that the great glories of our civilisation are the scientists and artists. Ancient Greece is remembered because of mathematicians like Euclid and Pythagoras, because of poets like Homer and dramatists like Sophocles. In two thousand years all our generals and politicians may be forgotten, but Einstein and Madame Curie and Bernard Shaw and Stravinsky will keep the memory of our age alive.”

Anthony Burgess (1917–1993) English writer

Non-Fiction, English Literature: A Survey for Students (1958, revised 1974)

Life, People, Age, Art

“Get it down quickly, don't worry about the background. Just go for the tonal values. You see? When you look at it, and above all when you see how to render it as you see it, thats is, in such a way that its make the same impression on the viewer as it does on you, you don't look for, you don't see the lines on the paper over there, do you? And then, when you look at the whole thing you don't try to count the scales on the salmon, of course you don't. You see them as little silver pearls against grey and pink – isn't thats right? – look at the pink of the salmon, with the bone appearing white in the centre and then grays, like the shades of mother of pearl. And the grapes, now do you count each? No, of course not. What strikes you is their clear, amber colour and the bloom which models the form by softening it. What you have to decide with the cloth is where the highlights come and then the planes which are not in the direct light. Halftones are for the magasin pittoresque engravers. The folds will come by themselves if you put them in the proper place. Ah! M. Ingres, there's the man! We're all just children. There's the one who knew how to paint materials! Ask Bracquemond [Paris' artist and print-maker]. Above all, keep your colours fresh. [instructing his new protegee, the Spanish young woman-painter Eva Gonzales, circa 1869]”

Edouard Manet (1832–1883) French painter

Manet, recorded by Philippe Burty, as cited in Manet by Himself, ed. Juliet Wilson-Bareau, Little Brown 2000, London; p. 52
1850 - 1875

Children, Way, Light, Appearance

“I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes... And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So, I made boxes..”

Adolph Gottlieb (1903–1974) American artist

Variant: I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes... And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So I made boxes..
Source: 1960s, Interview with Dorothy Seckler, 1967, p. 55-59.

Way, Christ, Box

“In my opinion the aim of the painter is similar with that of the poet, insofar that both want to affect the feelings of the viewer or reader. As soon as their scenes.... are lacking the mark of nature, of truth, than both will fail to realize it. The Dutch painter feels - as well as the Germans do - the influence of sublime nature, but the Dutch painter first wants to be acquainted with 'plain truth', to combine it afterwards with the poetic..”

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

(original Dutch, citaat van B.C. Koekkoek:) Het doel van den schilder is, naar mijn wijze van zien, in zoverre met dat des dichters gelijk, dat beiden op het gevoel van den beschouwer of den lezer willen werken. Dit kunnen zij onmogelijk doen, zodra hunne taferelen.. ..den stempel der natuur, de waarheid missen.. .De Nederlandschee schilder gevoelt even goed als de Duitsche den invloed der verhevenen natuur, maar de Nederlander wil eerst met het 'eenvoudige ware' bekend zijn, om hetzelve later met dichterlijke te vereenigen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 29-30

Truth, Feeling, Nature

“Already, a conscious courage is coming to life. Here are some of the painters: Picasso, Georges Braque, Delaunay, Le Fauconnier.... they are highly enlightened, and do not believe in the stability of any system, even if it were to call itself classical art.... Their reason is poised between the pursuit of the fleeting and a mania for the eternal.”

Jean Metzinger (1883–1956) French painter

Note sur la Peinture (1910)

Life, Art, Courage

“Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say.”

Clement Greenberg (1909–1994) American writer and artist

On Matisse http://www.sharecom.ca/greenberg/matisse.html at sharecom.ca, 1973: On Henri Matisse 1970s

People, Art, Way, Feeling

“Let us watch this de Kooning [leading Abstract-Expressionist painter in New York] with his prematurely white hair making his great sleepwalker's movements, as though he was waiting in a dream to open bays of Biscay, to explode islands like pieces of orange or Parma violets, to tear continents from a cerulean blue split by oceans of Naples yellow.... if by good or by ill fortune, in the middle of this Dionysian demiurg the image of 'The Eternal Feminine should appear.. the least that might have happened to her would be that she should emerge (from all this chaos) wearing nothing but a little make-up.”

Salvador Dalí (1904–1989) Spanish artist

Dali's comment on the 'Woman-paintings', c. 1960 [a.o. Woman-III ] of the American abstract-expressionist painter Willem de Kooning: (MPC 75); as cited in Dali and Me, Catherine Millet, (translated by Trista Selous), Scheidegger & Spiess AG, 8001 Zurich Switzerland, p. 135
Quotes of Salvador Dali, 1951 - 1960

Dreams, Tear, Appearance, Waiting