Quotes about painter (676 quotes, page 6)

“A painter works to formulate with or in colors... My paintings follow the second option.”

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

Source: De tweede Helft Ad de Visser, SUN Nijmegen, The Netherlands, 1998, p. 123

Color , Painting

“After leaving [the International Exposition in Paris, with a lot of new machines], I went to see Courbet's exhibition; he has reduced the admission to ten cents. I stay there alone for nearly an hour and discover that the picture [ 'L'atélier' / the Painter's Studio - 1855] of his which they refused [for exposing on the official Salon in Paris ] is a masterpiece; I simply could not tear myself away from the sight of it.”

Eugène Delacroix (1798–1863) French painter

Quote in Delacroix's Journal of 3 August, 1855; as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 236
1831 - 1863

Tear

“I have always been haunted by the feeling that the painter has much to gain from making use of the forces that tend to work against his action”

Jean Dubuffet (1901–1985) sculptor from France

Source: posthumous, Jean Dubuffet, Works, writings Interviews, 2006, p. 9

Feeling

“[intention to make a voyage of discovery through The Netherlands] … with the aim to apply it as a painter, as well as in my quality of entomologist [specialism, snout beetle].... what parts, provinces or regions of our country [ are] 'least' visited from an entomological point of view..?”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Willem Roelofs, in het Nederlands:) [intentie tot het maken van een ontdekkingsreis door Holland] ..zowel met het doel van die op te nemen als schilder als in mijne qualiteit van entomoloog [specialisme snuitkevers].. ..welke gedeelten, provincieën of streken van ons land [zijn] 'het minst' uit entomologisch oogpunt bezocht..?
In a letter to his Entomologische friend {{w|nl:Samuel Constantinus Snellen van Vollenhoven|S.C. Snellen]], from Brussels, 18 Dec. 1870; as cited in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum, 2006, p. 14 - ISBN13 * 978 90 6868 432 2
1870's

Parting , Country

“I knew a painter, a disciple of Gustave Moreau; he was truly a very fine artist, he knew his work quite well, and then … he was starving, he did not know how to make both ends meet and he used to lament. Then one day, a well-wishing friend sent a picture-dealer to his studio. The latter inspected all his works, without discovering anything of interest: the works of the painter were simply not fashionable and therefore without commercial value. But at last the dealer found a canvas with some palette-scrapings in a dusty corner and was suddenly full of enthusiasm: "Here you are! my friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in Paris (1897-1904) http://www.searchforlight.org/TheMother_lifeSketchpart2.htm and also in Mother India: Monthly Review of Culture, Volume 60 by Sri Aurobindo Ashram ( 2007) http://books.google.co.in/books?id=01tMAQAAIAAJ, p. 131.

Imagination , Fashion

“If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems.”

Jean Metzinger (1883–1956) French painter

Du Cubisme (1912)

Study

“My dear Pratella, I submit to your futurist genius these new ideas, and I invite you to discuss them with me. I am not a musician, so that I have no acoustic preferences, nor works to defend. I am a futurist painter who projects on a profoundly loved art his will to renew everything. This is why, bolder than the bolder professional musician, totally unpreoccupied with my apparent incompetence, knowing that audacity gives all prerogatives and all possibilities, I have conceived the renovation of music through the Art of Noise.
Luigi Russolo
Painter
Milano, March 11, 1913.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Source: 1910's, The Art of Noise', 1913, p. 12

Love , Art , Music , Idea

“And you thought to rob me of my son too, and bring him up to be a dirty Yankee tradesman, or a low, beggarly painter?"
"Yes, to obviate his becoming such a gentleman as his father.”

Anne Brontë book The Tenant of Wildfell Hall

Source: The Tenant of Wildfell Hall (1848), Ch. XL : A Misadventure; Helen and Arthur

“This is what happens, unquestionably – I am positive: an optical sensation is produced in our visual organ, which leads us classify as light, half-tone or quarter-tone, the planes represented by sensations of color. [Thus the light does not exist for the painter]. As long as, inevitably, one proceeds from black to white, the former of these abstractions being a kind of point of rest both for eye and brain, we flounder about, we cannot achieve self-mastery, get possession of ourselves. During this period (I tend to repeat myself, inevitably) we turn to the admirable works [of the five great Venetian painters a. o. Titian and Tintoretto] handed down to us through the ages, in which we find comfort and support…”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 23 December 1904; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 184
Quotes of Paul Cezanne, after 1900

Age , Color , Support , Light

“[Pelsaert laments] “the utter subjection and poverty of the common people-poverty so great and miserable that the life of the people can be depicted or accurately described only as the home of stark want and the dwelling place of bitter woe.” He continues: “There are three classes of people who are indeed nominally free, but whose status differs very little from voluntary slavery-workmen, peons or servants and shopkeepers. For the workmen there are two scourges, the first of which is low wages. Goldsmiths, painters (of cloth or chintz), embroiderers, carpet makers, cotton or silk weavers, black-smiths, copper-smiths, tailors, masons, builders, stone-cutters, a hundred crafts in all-any of these working from morning to night can earn only 5 or 6 tackas (tankahs), that is 4 or 5 strivers in wages. The second (scourge) is (the oppression of) the Governor, the nobles, the Diwan, the Kotwal, the Bakshi, and other royal officers. If any of these wants a workman, the man is not asked if he is willing to come, but is seized in the house or in the street, well beaten if he should dare to raise any objection, and in the evening paid half his wages, or nothing at all. From these facts the nature of their food can be easily inferred… For their monotonous daily food they have nothing but a little khichri… in the day time, they munch a little parched pulse or other grain, which they say suffices for their lean stomachs… Their houses are built of mud with thatched roofs. Furniture there is little or none, except some earthenware pots to hold water and for cooking… Their bedclothes are scanty, merely a sheet or perhaps two… this is sufficient in the hot weather, but the bitter cold nights are miserable indeed, and they try to keep warm over little cowdung fires… the smoke from these fires all over the city is so great that the eyes run, and the throat seems to be choked.””

Francisco Pelsaert (1591–1630) Dutch merchant, commander of the ship Batavia

Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7
Jahangir’s India

Life , People , Food , Home

“My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life.”

László Moholy-Nagy (1895–1946) Hungarian artist

Art of the 20th century, Part 1 by Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Ingo F. Walther, Christiane Fricke (2000) p. 178.

Life , Light

“Visitors to the expo were amused and fascinated by portrait painter Pricasso and his unique brush.”

Pricasso (1949) Australian painter

[Daily News staff, Daily News, South Africa, Pole-dancing vixens keep visitors agog at Sexpo, 26 August 2011, 3, Independent Online]
About

“At last, here is a new man [ Millet ], who has the knowledge which I would like to have, and movement, color, expression, too, - here is a painter!”

Narcisse Virgilio Díaz (1807–1876) French painter

Quote of Diaz, 1844; as cited by fr:Alfred Sensier, in Jean-Francois Millet – Peasant and Painter, translated from the French original by Helena de Kay; publ. Macmillan and Co., London, 1881, p. 62
Diaz de la Peña gave this comment when he saw for the first time work of Millet: the painting 'The Riding Lessons' on the Paris' Salon of 1844
Quotes of Diaz

Color , Knowledge

“We [Helen and Clement Greenberg] went through the hill towns of Italy together, and we'd picnic in Perugia and argue about the Quattrocento painters and why this Simone Martini was better than that Simone Martini, or why this Sienese guy was better than that guy from Orvieto. I learned how to look at modern pictures because of Old Masters, and vice versa.”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Guy , Learning

“It is true – is it not – that even Ingres [French classical painter, famous for his line] had to revise – yes, the surface of the painting is smooth, finished and incorruptible as a diamond, but under the accomplished surface are pentimenti – see there at the shoulder, how the line of the black dress was lowered qua fraction and the hand was extended to give greater elegance... Are these not signs of the patient revision that even a genius has to make.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), p. 358: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

Painting

“Degas isn't enough of a painter; he doesn't have enough of that! With a little bit of temperament one can manage to be a painter, It's enough to have a sense of art, and that sense is no doubt what the bourgeoisie fear most... For a painter, sensation is at the bottom of everything. I will go on repeating it forever. Procedures are not what I advocate.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), pp. 184-185 in: 'What he told me – II. The Louvre'

Fear , Art , Sense

“Berthe Morisot was a painter full of eighteenth-century delicacy and grace; in a word, the last elegant and 'feminine' artists since Fragonard.”

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

Source: undated quotes, Renoir – his life and work, 1975, p. 175 : Renoir's remarks to Vollard, referring to the delicate painting-style of Berthe Morisot's, the only French woman-artist of Paris Impressionism.

“I've started painting much more freely, and faster. I think it's working in the theatre that did it. You know what the Glyndebourne scene-painters said about my The Magic Flute? They said they had to wear sunglasses to paint it.”

David Hockney (1937) British artist

"Portrait of the Artist as a Naughty Boy," interview with John Mortimer, In Character (1983) p. 97
1980s

Thinking , Painting

“In 1940, some of us woke up to find ourselves without hope – to find that painting did not really exist. Or to coin a modern phrase, painting.... was dead. The awakening had a exaltation of a revolution. It was that awakening that inspired the aspiration – the high purpose – quite a different thing from ambition – to start from scratch, to paint as if painting never existed before. It was that naked revolutionary moment that made painters out of painters.”

Barnett Newman (1905–1970) American artist

in Jackson Pollock: An Artists Symposium, ARTnews Vol. 66 no. 2 April 1967; as quoted in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, pp. 147-148
1960 - 1970

Hope , Painting , Dead

“.. an original Jewish art can only come into existence when the Jews have own ground under their feet and live in freedom [Bainin asked him: 'is that not what Zionism wants to reach?'] Yes, Zionism is a noble thought, but who knows whether they will reach their goal? Herzl visited me [in The Hague, Oct. 1898], he is a noble man and believes in his idea. But who will know... Now it is our duty to fight against Antisemitism, to protest against the injustice and violence that is done to us.... what is the essence of Jewish art should be determined by writers and art critics: we painters must work and not philosophize.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in Dutch (citaat van Jozef Israëls, in het Nederlands): ..een oorspronkelijke joodse kunst [kan] alleen tot stand komen, wanneer de joden eigen grond onder de voeten hebben en een vrij leven leiden [Bainin vroeg hem dan: 'is dat niet wat het Zionisme wil?'] Ja, het nl:Zionisme is een edele gedachte, maar wie weet of ze hun doel bereiken? Herzl heeft mij bezocht [in Den Haag, Oct. 1898], hij is een nobel mens en gelooft in zijn idee. Maar wie weet.. .Nu is het onze plicht het antisemitisme te bestrijden, tegen het onrecht en het geweld dat ons wordt aangedaan te protesteren.. ..wat het wezen is van de joodse kunst moeten schrijvers en kunstcritici maar bepalen: wij schilders moeten werken en niet filosoferen.
Quote in an interview with interviewer Bainin, 27 April 1902; as cited in Jozef Israëls, 1824 – 1911, ed. Dieuwertje Dekkers; Waanders, Zwolle 1999, p. 59
At the moment Jozef was working on his painting 'De joodse wetschrijver' or 'De Joodse Bruiloft'
Quotes of Jozef Israels, after 1900

Art , Idea , Freedom , Fight

“The general opinion appears to be that it is very funny to make yourself out as fast or as foolish as possible; though even worse than this is the painful orthodoxy of those individuals who claim Shakespeare for their favourite poet, Beethoven for their favourite composer, and Raphael for their favourite painter.”

Aubrey Beardsley (1872–1898) English illustrator and author

The Story of a Confession Album (1889)

Pain , Appearance

“Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.... the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248-249

Art , Idea , Future

“He [ Rufino Tamayo, Mexican painter] showed me how to use my first paint box [and gesturing toward an old wooden palette displayed like a prize on the wall] That's my original palette!”

Helen Frankenthaler (1928–2011) American artist

1970s - 1980s, interview with Deborah Salomon in 'New York Times', 1989

Painting , Box

“[The title] was the last thing that I chose, after all the songs and the cover art were finished. So none of the songs directly allude to that myth. But the main themes that emerge out of that myth are really close to the themes on the record -- mortality, decadence, an excess of water, isolation, rebirth. The myth is also significant to me because of the way that I encountered it, which relates to one of the huge events the record is about.
I also liked the power of the word itself. I liked how violent and cryptic it felt; it's such a daunting word to encounter. I like how it contrasted this finely rendered, carefully composed front cover -- the painting is information-dense, formal, and stylized; it looks the way something looks when a painter spends a year on it, which is what Benjamin [Vierling] did. So it has all this detail and carefulness to it, which was really important to me and relates very closely to the record. But I also felt like it needed some sort of ballast, or balance, next to it, to reflect the other elements of the record; its innate violence. I wanted a word that was like throwing a brick at the visual on the front cover; I liked that whenever someone looked at that cover they also had to encounter this short, weird word.”

Joanna Newsom (1982) American musician

Interview with Pitchfork (2006)

Art , Way , Water , Painting

“It [his participating in the 7th exhibition of the Impressionists, combined with showing his work on the official Salon] isn't exactly a joy, but as I have said, it lets me out of the revolutionary side of the business, which I'm nervous of... It's a little weakness which I hope will be forgiven me [by the other impressionists]... Delacroix used to say, quite rightly, that a painter should win as many honours as possible.”

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

Quote of Renoir's letter to Durand-Ruel, end of Feb. 1882; as cited in Renoir – his life and work, Francois Fosca, Book Club Associates /Thames and Hudson Ltd, London 1975, p. 172
1880's

Hope , Business , Joy

“He [ Jasper Johns ] and I were each other's first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, 'I've got a terrific idea for you' and then I'd have to find one for him.”

Robert Rauschenberg (1925–2008) American artist

remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins
As quoted in Lives of the great twentieth century artists, Edward Lucie-Smith, London 1986, p. 31
1980's

Idea , Painting , Personality

“Whilst a Face painter is harassed to death a drapery painter sits & earns 5 or 6 hundered a year & laughs all the while.”

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

Quote in: Undated letters to Jackson, in The Letters of Thomas Gainsborough, ed. Mary Woodall, 1961
undated, Undated letters to William Jackson

Death

“The 'Cercle et Carré' group owes its existence to my encounter with the Uruguayan painter Torrès-Gracia in 1929… However difficult our relationship, his obstinacy matching my patience, this unholy team of fire and water was bound to produce something. Towards the end of the year, after consulting sundry artists, including Arp, Mondrian, and Van Doesburg, we drew up the program for a new group and launched a magazine which was be called 'Cercle et Carré.”

Michel Seuphor (1901–1999) designer, draughtsman, painter

Source: Abstract Painting (1964), pp. 97-98:

Water , Patience

“To me the prevailing tone of Rembrandt's mind, as shown in his art, is serenity. Where the subject allows him, his natural disposition seems always tranquil. He is the painter of repos”

Charles Robert Leslie (1794–1859) British painter (1794-1859)

A Handbook for Young Painters

Art , Nature

“In my view, the composer, just as the poet, the sculptor or the painter, is in duty bound to serve Man, the people. He must beautify human life and defend it. He must be a citizen first and foremost, so that his art might consciously extol human life and lead man to a radiant future. Such is the immutable code of art as I see it.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 136; from his "Music and Life" (1951).
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Life , People , Art , Future

“I rang up this publisher and they asked me what I was doing at the time. I told them I was a house-painter, so first of all they had me come round and paint the place. Only later did they consider my work and Banished Misfortune was published.”

Dermot Healy (1947–2014) Irish writer

John O'Mahony (2000). Let the west of the world go by http://www.guardian.co.uk/books/2000/jun/03/fiction.johnomahony, The Guardian (3 June 2000)

Time , Painting , Housing

“Despite my fervour for many Surrealist painters, I was soon wary of the preeminence of those 'literary anecdotes' that made many works appear as 'genre clichés', not unlike nineteenth-century pastiches. They often ignored the visual possibilities of the painting medium.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), p. 9
1971 - 1980, Memòria Personal', 1977

Appearance , Painting

“Not to paint is the highest ambition of the painter but God who gives the gift requires that it be honoured. It is in the gesture that it lives. There is no escape.”

Patrick Swift (1927–1983) British artist

Portuguese Notes (Gandon Editions Biography 1993).
Context: Not to paint is the highest ambition of the painter but God who gives the gift requires that it be honoured. It is in the gesture that it lives. There is no escape. Picture-making is ludicrous in the light of the awful times we must endure. It is sufficient to contemplate the nature of composition to see that the picture itself is impossible. Each square inch of Titian contains the whole pointless — between the cradle and the grave. My paintings are merely signs that the activity was engaged in.

God , Painting

“The painter thinks in terms of form and color. The goal is not to be concerned with the reconstitution of an anecdotal fact, but with constitution of a pictorial fact.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1908 - 1920, quotes from Artists on Art...(1972), p. 423 - Braque's quote, Paris 1917

Color , Thinking

“Dear August... I want to start like a child, to express my impression in front of nature with three colors and a few lines, and then add to forms and colors, where it requires the expression, that the working process is only a dedication, and never a removal. Only we painters know how stupidly difficult this is.”

Franz Marc (1880–1916) German painter

1911 - 1914

Color , Nature

“Almost all great painters in old age arrive at the same kind of broad, simplified style, as if they wanted to summarise the whole of their experience in a few strokes and blobs of colour.”

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

Source: The Romantic Rebellion (1973), Ch. 13: Degas

Age

“If we wished to relate the space of the [Cubist] painters to geometry, we should have to refer it to the non-Euclidean mathematicians; we should have to study, at some length, certain of Riemann's theorems.”

Albert Gleizes (1881–1953) French painter

1910s, Du Cubisme (1912)

Study

“If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!”

Charles M. Schulz (1922–2000) American cartoonist

1992, as quoted by Tom Tomorrow in his comic strip This Modern World (21 February 2000) http://archive.salon.com/comics/tomo/2000/02/21/tomo/index.html

Books , Drawing

“We [the American Abstract-expressionist artists of the 1940's] were formed by the Depression [1930's], when the American dream lay in pieces on the floor. The possibility of making money was inconceivable to us. America was innocent in relation to modern art, and no one cared. The reigning painters in America were very parochial in relation to the international tradition... What held us together was our ambition to use the standards of international modernism as a gauge, not those of Thomas Hart Benton or Grant Wood or Guy Pene du Bois. We did have a terrible struggle, but not for success. It was to make painting that would stand up under international scrutiny, and all the rest was a byproduct.”

Robert Motherwell (1915–1991) American artist

as cited by Grace Glueck, in 'Robert Motherwell, Master of Abstract, Dies', by Grace Glueck, 'New York Times, 18 July 1991 https://www.nytimes.com/1991/07/18/obituaries/robert-motherwell-master-of-abstract-dies.html
Undated

Money , Dreams , Art , Guy

“The painter leaves his mark. And I just put in two statues in Rhode Island that I'm working on. And I think that's going to make me last longer than me. I mean, who remembers "Zorba?" Nobody remembers "Zorba."”

Anthony Quinn (1915–2001) Mexican American actor

Nobody remembers "Requiem for a Heavyweight."
Interview with Larry King, 1996

Thinking

“I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness... How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's [paintings]... I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners [here]..”

Camille Pissarro (1830–1903) French painter

Quote of Pissarro, Paris, 6 September 1888, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 131-132
1880's

Hope , Art , Way , Question

“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

Helen Frankenthaler (1928–2011) American artist

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Life , Time , Parting , Painting

“But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..”

Franz Kline (1910–1962) American painter

Quote of Kline in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', Spring 1963; as cited in Interviews with American Artists, David Sylvester; Chatto & Windus, London 2001, pp. 61-62
1960's

Love , Color , Thinking , Painting

“In opposition to the immobile means of expression that the Academy was teaching, these painters threw down like a challenge a mobile expression; to volumes situated in space they preferred the living dynamism of coloured form in evolution.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

“Through the mad mystic hammering of the wild ripping hail,
The sky cracked its poems in naked wonder,
That the clinging of the church bells blew far into the breeze
Leaving only bells of lightning and its thunder
Striking for the gentle, striking for the kind,
Striking for the guardians and protectors of the mind,
An’ the poet and the painter far behind his rightful time
An’ we gazed upon the chimes of freedom flashing.”

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

Song lyrics, Another Side of Bob Dylan (1964), Chimes of Freedom

Freedom , Time , Madness

“Scilla, a Sicilian painter, published in l670, a work on the fossils of Calabria, illustrated by good engravings. This was written in Latin, with great spirit and elegance, and it proves the continued ascendency of dogmas often refuted; for we find the wit and eloquence of the author chiefly directed against the obstinate incredulity of naturalists, as to the organic nature of fossil shells.”

Charles Lyell book Principles of Geology

Chpt.3, p. 32
Principles of Geology (1832), Vol. 1

Nature

“[T]he invention of photography has made the painter and the patron lose interest in the likeness and transfer it to some more formal pattern. Our whole sensibility has been re-created by such subtle shifts.”

Jacob Bronowski (1908–1974) Polish-born British mathematician

"Sense and Sensibility"
The Common Sense of Science (1951)

“Volumes might be written upon the follies and imbecilities of great men. A full rounded man — a man of sterling sense and natural logic — is just as rare as a great painter, poet, or sculptor. If you tell your friend that he is not a painter, that he has no genius for poetry, he will probably admit the truth of what you say, without feeling that he has been insulted in the least. But if you tell him that he is not a logician, that he has but little idea of the value of a fact, that he has no real conception of what evidence is, and that he never had an original thought in his life, he will cut your acquaintance.”

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

The Great Infidels (1881)

Life , Men , Truth , Feeling

“In recent times, Surrealist painters have used descriptive illusionistic academic methods.”

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

In a letter to Polish poet Jan Brzekowski, ca. 1930, co-publisher of the Franco-Polish magazine 'L'art contemporain'; from Jours effeuillés: Poèmes, essaies, souvenirs, Hans Arp, Gallimard, Paris 1966, p. 63
Arp's critical quote refers to the creation of art by the French Surrealists in which Jean Arp participated for a few years and then departed.
1930s

Time

“.. there is a real Dada strain in the minds of the New York School of abstract painters that has emerged in the last decade.”

Robert Motherwell (1915–1991) American artist

The Dada Painters and Poets, Schultz, Wittenborn, New York 1951, p. xiii
1950s

School

“At one point Trudeau mentioned to me that the National Gallery wanted to buy a masterpiece by the great Italian painter Lotto, and it needed a million dollars from the Treasury Board. "Is that Lotto-Quebec or Lotto-Canada?" I joked, but I got the message, and the National Gallery got the painting.”

Jean Chrétien (1934) 20th Prime Minister of Canada

Source: Straight From The Heart (1985), Chapter Three, The Business Of politics, p. 87

Painting

“Never had the critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

Appearance , Time , Painting

“At Aix (Aix en Provence) I am not free; whenever I want to return to Paris, I always have to put up a fight, and, although your (his father) opposition may not be absolute, I am always deeply affected by the resistance that I encounter from you. I sincerely want my liberty unfettered.... it would give me great pleasure to work in the Midi, some aspects of which offer many resources to the painter; there I would be able to attack some of the problems that I wish to solve.”

Paul Cézanne (1839–1906) French painter

Quote in Cezanne's letter to his father in Aix; ca. 1871-73; as quoted in Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, pp. 33-34
Quotes of Paul Cezanne, 1860s - 1870s

Pleasure , Problem , Fight , Sincerity

“If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 48
1925 - 1945

Angels , Flowers , Painting

“Boccioni, Russolo and I all met in the Porta Vittoria café [in Milan, Italy], close to where we all lived, and we enthusiastically outlined a draft of our appeal [the Manifesto of Futurist Painters, late February, 1910]. The final version was somewhat laborious; we worked on it all day, all three of us and finished it that evening with Marinetti and the help of Decio Cinti, the group's secretary.”

Carlo Carrà (1881–1966) Italian painter

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 23 - the painters Bonzagni and Romani signed this famous Manifesto version too, but withdraw soon; they were replaced by Giacomo Balla and Gino Severini

Help

“I don't think of my work as calligraphic. Critics also describe Jackson and De Kooning as calligraphic painters but calligraphy has nothing to do with us. It's interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing. People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.”

Franz Kline (1910–1962) American painter

Quote, (1958)
1960's, Talks with Seventeen Artists, 1962

People , Idea , Thinking , Painting

“You know what I want to become temporarily today: a painter? No. A simple and common designer. But a biting one. I would like to deride humanity, nothing less. And this with the simplest means, in black and white. At the same time - oh blasphemy - I would like to attack our Lord adequately.”

Paul Klee (1879–1940) German Swiss painter

Quote in a letter to his friend de:Hans Bloesch, 1898; as cited in Das Frühwerk 1883-1922 (The early works 1888-1922), Munich, Städtische Galerie im Lenbachhaus, 1979, p. 47
Klee originally aspired to become a satirist, not a painter.
1895 - 1902

Time

“I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.”

Alain de Botton (1969) Swiss writer

Source: The Pleasures and Sorrows of Work (2009), pp. 83-84.

War , Beauty , Art , Intelligence

“It is not painter or sculptor who is making himself most nobly immortal. It is he who is making true impressions upon the mind of man; frescoes for eternity, that will not shine out till the light of heaven reveals them; sculptures, not wrought in outward things, but in the inward nature and character of the soul.”

Henry Ward Beecher (1813–1887) American clergyman and activist

Source: Life Thoughts (1858), p. 22

Soul , Nature , Light

“All those people who derided me did me a favour, because now I don't care what anyone says about me. I feel I am now able to be a really powerful painter, to take on the mantle of the US male expressionist.”

Stella Vine (1969) English artist

Eyre, Hermione. "Completing my new show was the only thing that saved me from suicide" http://www.independent.co.uk/news/people/profiles/stella-vine-completing-my-new-show-was-the-only-thing-that-saved-me-from-suicide-457090.html, The Independent, (2007-07-15)
On criticism.

People , Feeling

“Paris remained Parisian in spite of change, mistress of herself though China fell. Scores of artists — sculptors and painters, poets and dramatists, workers in gems and metals, designers in stuffs and furniture — hundreds of chemists, physicists, even philosophers, philologists, physicians, and historians — were at work, a thousand times as actively as ever before, and the mass and originality of their product would have swamped any previous age, as it very nearly swamped its own; but the effect was one of chaos, and Adams stood as helpless before it as before the chaos of New York.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Age , Change , Time

“Every intelligent modern painter carries the whole culture of modern painting in his head.”

Robert Motherwell (1915–1991) American artist

Abstract Expressionism, David Anfam, Thames and Hudson Ltd London, 1990, p. 22
1950s

Intelligence , Painting

“There was one artist who wrote as beautifully as he painted. That was Hokusai - He speaks for all artists, whether they are painters or not. [He wrote]: "I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy three I have at last caught every aspect of nature-birds, fish, animals, insects, trees, grasses, all. When I am eighty I shall have developed still further. And I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime, and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life."”

Henry Miller (1891–1980) American novelist

Reflections (1981)

Love , Life , Secret , Age

“Other days, other ways! For myself I would desire a combination of old romance and modern machinery. No housewife would wish to the return to the era when everything, had to be made at home by candlelight and which lost to us who knows how many women poets and painters!”

Flora Thompson (1876–1947) English author and poet

August Chapter The Peverel Papers - A yearbook of the countryside ed Julian Shuckburgh Century Hutchinson 1986
The Peverel Papers

Women , Way , Home

“If deceiving the eye were the only business of the art, there is no doubt, indeed, but the minute painter would be more apt to succeed; but it is not the eye, it is the mind, which the painter of genius desires to address; nor will he waste a moment upon those smaller objects, which only serve to catch the sense, to divide the attention, and to counteract his great design of speaking to the heart.”

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

Discourse no. 3; vol. 1, pp. 70-71.
Discourses on Art

Art , Business , Sense , Heart

“Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 14
Conversation with Karen Wilkin' (1986-1988)

Painting

“Often I think of that excellent painter Monticelli,... when I come back myself from the mental labor of balancing the six essential colors.... sheer work and calculation, with one's mind utterly on the stretch, like an actor on the stage in a difficult part, with a hundred things at once to think of in a single half-hour.
Don't think that I would artificially keep up a feverish condition, but do understand that I am in the midst of a complicated calculation which results in quick succession in canvases quickly executed, but calculated long beforehand. So now, when anyone says that such and such is done too quickly, you can reply that they have looked at it too quickly.”

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

Quote in his letter to brother Theo, from Arles, Summer 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 507) p. 32
1880s, 1888

Color , Understanding , Thinking , Success

“The only 'penile portrait painter' in the world.”

Pricasso (1949) Australian painter

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

World

“.. the present painter is not concerned with the process. Herein lies the difference between them and the Surrealists. At the same time in his desire, in his will to set down the ordered truth.... it can be said that the artist like a true creator is delving into chaos. It is precisely this that makes him an artist for the Creator in creating the world began with the same material, for the artist tries to wrest truth from the void..”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 126

Truth , World , Time

“[a landscape painter cannot do with] being stupid-natural…. all that art would be [made] in vain if the feeling stayed away. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) Het doel, het streven van de kunst, is als dat van de muziek, te ontroeren; in onze geest gewaarwordingen te doen ontstaan..
[een landschapschilder kan niet volstaan met] stom-natuurlijk te zijn.. ..al die kunst zou ijdel zijn, als het gevoel weg bleef.
2 short quotes of W. Roelofs in a letter to his pupil , 8 June 1886; as cited in Willem Roelofs 1822-1897. De adem der natuur, ed. M. van Heteren and R. te Rijdt; exposition catalog of Museum Jan Cunen, Oss / Kunsthal Rotterdam, 2006, p. 50
1880's

Stupidity , Art , Feeling , Nature

“Thank you to the stellar collection of photographers, designers, editors, musicians, costumers, painters, researchers, electricians and craftspeople who without whom I'd just be a bitter man with a lot of opinions”

David Fincher (1962) American film director

2011 Golden Globe Award Ceremony (2011)

“Machines change their style so rapidly. If one tries to reproduce them in art as realistically as man and the horse in classical art, one immediately lapses into a kind of anecdotic or documentary art... Only the stylisation of a painter like Leger could integrate the machine as the subject matter of art. Here in Italy, the futurists, before 1914, attempted a similar integration of the machine.... César [French sculptor, in the generation of Marini] creates with elements borrowed from industry and the world of machines, sculptural fossils that appear to have survived the same kind of catastrophe as my own figures. But I would like to show you [ interviewer w:Eduard Roditi now in my studio my latest fossils..”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 89

World , Art , Appearance , Change

“No one wants my painting because it is different from other people's — peculiar, crazy public that demands the greatest possible degree of originality on the painter's part and yet won't accept him unless his work resembles that of the others!”

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

Source: 1890s - 1910s, The Writings of a Savage (1996), p. 205: in a letter to Ambroise Vollard, January 1900

People , Parting , Painting

“I was making very aggressive provocative paintings. Whether the Rachel paintings, or the Diana paintings, I've sensed over the three or four years that I've been in getting press attention, I've sensed that it has not been that long since the woman painter was not allowed in the Royal Academy, and not allowed to paint nude men, and thee is such a huge body of work that men have made, versus the small body of work made by women, that I am not surprised to get this response.”

Stella Vine (1969) English artist

Honigman, Ana Finel. "Stella Vine in conversation with Ana Finel Honigman" http://www.saatchi-gallery.co.uk/blogon/2007/07/stella_vine_in_conversation_wi.php, Saatchi Gallery (2007-07-25).
On being a female artist.

Women , Men , Sense , Painting

“People get a bad impression of it by continually trying to treat it as if it was a bank clerk, who ought to be on time on Tuesday next, instead of philosophically seeing it as a painter, who may do anything so long as you don't try to predict what.”

Katharine Whitehorn (1928) British writer

Of the English climate, from The Observer (London, Aug. 7, 1966)

People , Time

“As a painter, cursed or blessed with a terrible and vital sensuousness, I must look for wisdom with my eyes. I repeat, with my eyes, for nothing could be more ridiculous or irrelevant than a 'philosophical conception' painted purely intellectually without the terrible fury of the senses grasping each visible form of beauty and ugliness.”

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

1930s, On my Painting (1938)

Wisdom , Beauty , Sense , Painting

“For the image possesses qualities which, under certain circumstances, can make it much more interesting than the object which inspired it. The portrait of a commonplace person can astound us with an air of distinction, reminding us that the best portrait is that which resembles the painter, not the model.”

Jean Metzinger (1883–1956) French painter

Cubism was born

Personality

“We refer with pleasure and with steadfastness to the case of El Greco, because the glory of this painter is closely tied to the evolution of our new perceptions on art.”

Franz Marc (1880–1916) German painter

1911 - 1914
Source: 'Blaue Reiter' (1912), p. 75–76; as quoted on Wikipedia/El Greco, in 'Postumus critical reputation'

Pleasure , Art

“The thing that interests me is that today painters do not have to go to a subject-matter outside themselves. Modern painters work in a different way. They work from within.”

Jackson Pollock (1912–1956) American artist

Quote of Pollock in a radio interview (1951); as quoted in Lives of the Great Twentieth Century Artists', (1986) Edward Lucie-Smith, p. 263
1950's

Way

“Our poor friend Sisley, alas! will not assist at the final triumph, which is near, and of which he has seen but the dawning : he is gone too soon, and just at the moment when, in reparation for long injustice, full homage is about to be rendered those strong and charming qualities which make him a painter exquisite and original among them all, a magician of light, a poet of the heavens, of the waters, of the trees — in a word, one of the most remarkable landscapists of this day.”

Adolphe Tavernier (1853–1945) French writer, art critic, collector and journalist

As quoted in Burnley Bibb, The Work of Alfred Sisley, The Studio, December 1899,

Tree , Light , Strong , Water

“Among the painters of our day who have helped me develop are Carlo Carra [famous Futurist painter] and Ardengo Soffici; their work and writings have in my opinion been a beneficial influence on where Italian art is going today.”

Giorgio Morandi (1890–1964) Italian painter

in Autobiografia, G. Morandi; (1928); as quoted in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 44
1925 - 1945

Art , Help

“The media, the galleries, the collectors – it's all very chaotic actually. The artworld doesn't have this defined corporate structure that people imagine. Of course there's a system of sorts. This person will talk to that person and somebody else will pass it on to somebody else… you can trace a line of power of some kind. But its nothing like as clear and set as people think. And this chaos leads to a lot of insecurity. It's only after an artist has achieved some independence from it that he MODERN PAINTERS can really stand up to the collectors and the dealers and do his art.”

Jeff Koons (1955) American artist

Jeff Koons in: Modern Painters. Vol. 2 (1989), p. 63
1980s

People , Art , Imagination , Thinking

“[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they worship the traditionalism of w:Poussin, of w:Ingres, of Corot, ageing and petrifying their art with an obstinate attachment to the past, which to our eyes remains totally incomprehensible.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

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

Age , Art , Nature , Past

“Hullo! What's this? What are these funny brown-and-olive landscapes doing in an impressionist exhibition? Brown! I ask you? Isn't it absurd for a man to go on using brown and call himself an impressionist painter?”

Frank Rutter (1876–1937) British art critic

Rutter, Frank. Art in My Time, p. 111. Rich & Cowan, London, 1933.
Rutter satirising the reaction of fans of impressionist art on seeing Cézanne's work in London in 1905.

“Good painters imitate nature, bad ones vomit it.”

Miguel de Cervantes book Novelas ejemplares

El licenciado Vidriera [The Lawyer of Glass]
Novelas ejemplares (1613)

Nature

“Kandinsky, Wassily – painter, printmaker and author – the first painter to base painting on purely pictorial means of expression and abandon objects in his pictures.”

Wassily Kandinsky (1866–1944) Russian painter

Quote of Wassily Kandinsky, 1919 - his self-characterisation in 'Das Kunstblatt', 1919; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1916 -1920

Painting

“If I were a painter
I would paint my reverie
If that's the only way for you to be with me”

Norah Jones (1979) American singer-songwriter and multi-instrumentalist

"Painter Song", Come Away with Me (2002)
Song lyrics

Way , Painting

“I have impressed upon you my preoccupation with earning money so as to have a secure existence over there. That's the way it have to be… I am very happy to hear that you [ Walter Pach ] sold these canvasses for me and thank you very sincerely for your friendship. But I am afraid of getting to the stage of needing to sell canvases, In a word, of being a painter for a living. – So I'll be leaving probably on the 22nd or rather 29th May [1915], if the police authorities allow me to take the steamer.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in Duchamp's letter to Walter Pach, Paris 27 April 1915; as quoted in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 157
1915 - 1925

Money , Friendship , Way , Sincerity

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico (1888–1978) Italian artist

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love , Life , Law , Nature

“This is a work which ought to be in every library in Canada; perhaps, after twenty-five years or so, it might silence the recurrent hubbub about nude paintings which is a feature of our national life. Yes, they are erotic. Yes, madam, the painters are often naughty men, and the models are sometimes bad girls. But there are elements involved in the painting of the nude which draw upon what is highest in art and express what is highest in mankind. Now, may we please look at the pictures?”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Review of The Painter's Eye and The Nude (1957).

Life , Men , Art , Girl

“One has to see a painter in his own place to get an idea of his worth. I went back there [to Corot's studio, after the official exhibition] and I appreciate in a new light the paintings that I had seen in the Museum and that had struck me as middling... He told me to go a bit ahead of myself, abandoning myself to whatever might come; this is how he works most of the time... Corot delves deeply into a subject; ideas come to him and he adds while working; it's the right approach.”

Eugène Delacroix (1798–1863) French painter

Quote from entry of Delacroix's Journal, 14 March, 1847; as cited in Selected writings on Art and Artists, transl. P. E. Charvet – Cambridge University Press, Archive, 1981, p. 150, note 44
This visit of Delacroix was the beginning of an important friendship
1831 - 1863

Idea , Light , Time , Painting

“The intellectual abstraction of the second period of Cubism was of great importance, however. By its aspirations to the eternal and its 'concept of proportion inspired by the Classics' it revived the sense of craftsmanship concept in many painters. And this perfectly coincided with another of my ambitions – which was to make, with paint, an object having the same perfection of craftsmanship that a cabinet-maker would put into a piece of furniture.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

Sense , Painting , Perfection

“Paintings are memories. Memories of the painter who painted them. Memories that can be shared as well. Paintings are things to remember things by.”

James Rosenquist (1933–2017) American artist

Quoted in Brian Sherwin, "Art Space Talk: James Rosenquist," http://www.myartspace.com/blog/2008/04/art-space-talk-james-rosenquist.html myartspace.com (2008-04-04)

Memory , Painting

“My brother Jaap was born as a painter, which means he really enjoyed it. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Matthijs Maris (1839–1917) Dutch painter

version in original Dutch / citaat van Matthijs Maris, in het Nederlands: mijn was een geboren schilder which means, hij had er plezier in.
Quote of Matthijs c. 1890; in Jacob Maris (1837-1899), M. van Heteren and others; as cited in 'Ik denk in mijn materie', in exhibition catalog of Teylers Museum / Museum Jan Cunen), Zwolle 2003, p. 29
his remark shortly after Jacob's death, from London where Matthijs lived for many years

“Painters should remember that the eye, as a general rule, is a good, simple, credulous organ — very ready to take things on trust if it be told them with any confidence of assertion.”

Samuel Butler (1835–1902) novelist

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

Confidence

“I am essentially a painter of the kind of still-life composition that communicates a sense of tranquility and privacy, moods which I have always valued above all.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

Life , Communication , Mood , Sense

“Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it... Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: 1942 - 1948, Arshile Gorky, – Goats on the roof' (2009), pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

Art , Reality , Effort , Light