Quotes about painter (676 quotes, page 7)

“Towards the end of 1933 I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter.”

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

In 1933, when she wanted to return to India.
Sikh Heritage,Amrita Shergil

Way , Feeling

“I believe that painter's judgments of painting are first ethical, then aesthetic, the aesthetic judgments flowing from an ethical context. Doubtless no painter systematically thinks this way; but it does seem to me to be basically what happens when modern painters judge any new manifestations of painting... An artist's 'art' is just his consciousness, developed slowly and painstakingly with many mistakes en route. How dare they collect those ugly early Van Gogh's like trophies…”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), pp. 109-110

Art , Way , Thinking , Painting

“What fascinates me about Van Gogh is that his sun dries up everything. Maybe he was melodramatic but my point really is.... if you are a painter you have to face that self-consciousness. You get dirty and pathetic; very miserable. It makes me self-conscious to talk about it. There is something corrupt on art. Nothing do with any 'ism' but a thing in nature loses its innocence and becomes a grotesque thing.... maybe this difficulty is personal with me, and maybe it is something that other painters have in common. Perhaps it is also something of today.”

Willem de Kooning (1904–1997) Dutch painter

in conversation with W.C. Seitz
Quote from Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 121.
1980's

Art , Nature , Sun , Personality

“What was the truth for the painters of yesterday is but a falsehood today. We declare, for instance, that a portrait must not like the sitter... To paint a human figure, you must not paint it; you must render its surrounding [aura-like] atmosphere. Space no longer exists... Who can still believe in the opacity of bodies, since our sharpened and multiplied sensibilities has already penetrated the obscure manifestations of mediums? Why should we forget in our creations the doubled power of our sight, capable of giving analogous to those of X-rays?”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in: John F. Moffitt (2003) Alchemist of the Avant-Garde: The Case of Marcel Duchamp, p. 87.
1910, Manifesto of Futurist Painters,' April 1910

Truth , Painting , Forgetting

“De Chirico [Italian painter, later admired by the Surrealists as 'early Surrealist'] found himself in 1912 confronted with the problem of following one of the roads already opened or of opening a new road. He avoided Fauvism as well as Cubism and introduced what could be called 'metaphysical painting'. Instead of exploiting the coming medium of abstraction, he organized on his canvases the meeting of elements which could only meet in a 'metaphysical world'. These elements, painted in the minutest technique, were 'exposed' on a horizontal plane in orthodox perspective. This technique, in opposition to the Cubist or the purely abstract formula in full bloom at the moment, protected de Chirico’s position and allowed him to lay down the foundation of what was to become Surrealism ten years later.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote by Marcel Duchamp, 1943, from 'Appreciations of other artists': Giorgio de Chirico (painter, writer, illustrator); as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

World , Problem , Painting

“My dear Sensier, - I shall be greatly obliged if after reading and sealing the enclosed letter, you will take it to Rue du Delta, No. 8. [Paris].... Jaque [common friend and painter] and I have settled to stay here [ Barbizon ] for some time, and have accordingly each of us taken rooms. The prices are excessively low compared to those in Paris; and as it is easy to get to town if necessary, and the country is superbly beautiful, we hope to work more quietly here, and perhaps do better things. In fact, we intend to spend some time here... I wish you good-bye, with many hearty embraces. Jacque sends you warm remembrances, and will answer your letter tomorrow.”

Jean-François Millet (1814–1875) French painter

Quote from Millet's first letter to fr:Alfred_Sensier, from Barbizon, 28 June 1849; as cited by Julia Cartwright in Jean Francois Millet, his Life and Letters, Swan Sonnenschein en Co, Lim. London / The Macmillian Company, New York; second edition, September 1902, p. 95
1835 - 1850

Beauty , Hope , Time , Reading

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013

People , Art , Feeling , Business

“But one day, some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title. And it wasn’t really a very good one. From then on the idea became something extra. Immediately it gave some people the idea that they could free art from itself. Until then, Art meant everything that was in it – not what you could take off it. There was only one thing you could take out of it sometime when you were in the right mood – that abstract and indefinable sensation, the aesthetic part – and still leave it were it was…”

Willem de Kooning (1904–1997) Dutch painter

Quote from De Kooning's speech 'What Abstract Art means to me' on the symposium 'What is Abstract At' - at the Museum of Modern Art, New York, 5 February, 1951, n.p.
1950's

Life , People , Art , Idea

“Since I was trying to teach "style" of thinking in science and engineering, and "style" is an art, I should therefore copy the methods of teaching used for the other arts—once the fundamentals have been learned. How to become a great painter cannot be taught in words… Art teachers usually let the advanced student paint, and then make suggestions… more or less as the points arise in the student's head—which is where learning is supposed to occur!”

Richard Hamming (1915–1998) American mathematician and information theorist

The Art of Doing Science and Engineering: Learning to Learn (1991)

Art , Thinking , Learning , Teachers

“There are scarcely fifteen art-collectors in Paris capable of liking a painter without the backing of the Salon. There are eighty thousands of them who wouldn't buy a thing from a painter who is not in the [Paris'] Salon. I am not going to be so foolish as to condemn a thing just because of where it happens to be. In short, I'm not going to waste my time bearing a grudge against the Salon – I don't even want to look as if I do. To my mind, one must simply paint as well as one possibly can – and that's all.”

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

Source: 1880's, Renoir – his life and work, 1975, pp. 127-128 : in his letter to Durand-Ruel (1880's), explaining his choice to participate in the yearly official Salon as well as in the Impressionist Exhibition in Paris, on the same time.

Art , Time , Painting

“.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings…. at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently…. For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now…. they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.”

Adolph Gottlieb (1903–1974) American artist

In an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, pp. 27-28
1960s

School , Home , Thinking , Time

“This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 8 Mai 1903, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 149
Quote of Pissarro - referring to the writer of the book Impressionist Painting, it Genesis and Development, published in 1904
after 1900

Truth , Nature , Thinking , Study

“Alas that the artist… may not content himself with the inward enjoyment of the beautiful, but must chase the fitting mystery beyond the verge of his ethereal domain, and crush its frail being in seizing it with a material grasp. Owen Warland felt the impulse to give external reality to his ideas as irresistibly as any of the poets or painters who have arrayed the world in a dimmer and fainter beauty, imperfectly copied from the richness of their visions.”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"The Artist of the Beautiful" (1844)

World , Beauty , Idea , Reality

“New space neither needs nor demands pictures - it is not a picture transposed on a surface. This explains the painters' hostility towards us [a. o.: Malevich ]: we are destroying the wall as the resting place for their pictures.”

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

critical quote of Lissitzky c. 1923, in Proun Space - in An Architecture for World Revolution, El Lissitzky; translation Eric Dluhosch; Lund Humphries, London: 1970, p. 138
1915 - 1925

Hostility

“José Clemente Orozco [became later a famous Mexican painter as well] and I would travel on the same trolley from Coyoacán to Mexico City, and I would carry his papers. We became pals, and I invited him to the house. I had painted four or five things when he visited, and he gave me a hug and said I had a lot of talent, and he chatted on about the horrors of Diego [Rivera]. There was beginning to be talk about Diego; that he had returned from Russia and was giving talks on on Russian theater and art. I would go to hear him. Afterwards, he began to paint at the Prepa. [Escuela Prepatoria] and later at the Secretaríade Educación. I was studying at the Prepa, but the [bus] accident [in 1925] messed me up.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', pp. 73-74

Art , Travel , Study , Painting

“Just as the reverent man prays without uttering words, and the Lord hears him, the sensitive painter paints, and the sensitive man understands and recognizes him, but even the more obtuse carry away something from his work.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich, in Romanticism and realism : the mythology of nineteenth-century art - (from Chapter: Friedrich and the language of Landscape https://msu.edu/course/ha/445/rosenfriedrich.pdf), Charles Rosen and Henri Zerner; Viking Press, New York, 1984, p. 63
undated

Understanding , Painting

“The Romantic painters were already addicted to a cult of the horse as an aristocratic beast.... From Géricault and Constantin Guys [both Romantic French painters] to Degas and Dufy, this cult of the horse found its expression in a new attitude towards sport and military life... In Odilon Redon’s visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths.”

Marino Marini (1901–1980) Italian sculptor

Source: Interview with Edouard Roditi' (1958), p. 86

Life , World , Dreams , Guy

“.. Mother, the dawn has broken in me and I can feel the day approaching. I'm going to become somebody. If only I had been able to show Father that my life has not been fishing in troubled waters, pointless; if only I had been able to repay him for the part of himself that he planted in me! I feel that the time is soon coming when I no longer have to be ashamed and remain silent, but when I feel with pride that I am a painter..”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her mother, from Worpswede, 6 July 1902; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 202
1900 - 1905

Life , Feeling , Fish , Water

“The work of the painter, the poet or the musician, like the myths and symbols of the savage, ought to be seen by us, if not as a superior form of knowledge, at least as the most fundamental and the only one really common to us all; scientific thought is merely the sharp point — more penetrating because it has been whetted on the stone of fact, but at the cost of some loss of substance — and its effectiveness is to be explained by its power to pierce sufficiently deeply for the main body of the tool to follow the head.”

Claude Lévi-Strauss book Tristes Tropiques

Source: Tristes Tropiques (1955), Chapter 13 : Pioneer Zone, pp.123-124

Knowledge , Loss

“Nature is supposed to become greater to me than people. It ought to speak louder from me. I should feel small in the face of nature's enormity. That is the way Mackensen [her teacher, painter in Worpswede] thinks it should be. That is the alpha and omega of all critique. What I should learn, he says, is a more devout representation of nature. It seems that I let my own insignificant person step to the forefront too much.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 194
1897

People , Way , Feeling , Nature

“My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts?Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past.”

Thomas Eakins (1844–1916) American painter

Letter of resignation to Edward Hornor Coates, Chairman of the Committee on Instruction, Pennsylvania Academy of the Fine Arts (1886-02-15).

Life , Women , Men , Beauty

“And at times already I feel old and broken... To succeed one must have ambition, and ambition seems to me absurd. What will come of it I don't know; I would like above all things to be less of a burden to you... I hope to make such progress that you will be able to show my stuff boldly without compromising yourself. And then I will take myself off somewhere down south, to get away from the sight of so many painters that disgust me as men.”

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

Quote in his letter to brother Theo, from environment of Paris, Summer 1887; as quoted in Vincent van Gogh, edited Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 462) p. 22
1880s, 1887

Men , Hope , Feeling , Time

“Do you see that corner of canvas there [of his painting 'La Ferme'], large as the hand, does it not seem to you that it far surpasses in intensity, in clearness, in expression, the rest of the canvas? [Sensier confirmed]. Well, then, all the rest must pass under the control of that little centre; all that which surrounds it submit itself to that diapason of light and the whole of the picture be as charged with life as that which you see there. Must we not incessantly lift ourselves, surpass ourselves, in this terrible profession of painter?”

Théodore Rousseau (1812–1867) French painter (1812-1867)

quote from a talk with Alfred Sensier, c. 1865; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, pp. 159-60
the quote is pointing to his painting 'The Farm / La Ferme', upon which Rousseau had worked for years
1851 - 1867

Life , Light , Painting

“Indeed, our society, which has seemed so freedom-giving and passive in its attitudes toward the artist really makes extraordinary demands upon him: on the one side, to be free in some vague spiritual sense, free to act only as an artist, and yet on the other side to be rigorously tested as to whether the freedom he has achieved is great enough to be more solidly dependable than a government's financial structure... No wonder that modern painters, in view of these curious relations to society, have taken art matters into their own hands, decides for themselves what art is, what its subjects are to be, and how they are to be treated. Art like love is an active process of growth and development.”

Robert Motherwell (1915–1991) American artist

Source: 1950s, The painter and the audience' (1954), p. 108

Love , Art , Sense , Freedom

“The truth is that, from the immense spectacle of the world, each novelists retains the one adventure which enable shim to give expression to his own essential self, just as the painter sees in nature only pictures painted in his manner.”

André Maurois (1885–1967) French writer

The Art of Writing

Truth , World , Nature , Painting

“The painter celebrates life where he finds it. His morality is the morality of enjoyment, of the continuous development of his own taste without shame or fear. It is a sort of heroism.”

Patrick Swift (1927–1983) British artist

"Mob Morals and the Art of Loving Art", X, Vol. 2, No. 1 (January 1961).
X magazine (1959-62)

Life , Fear

“In our beginnings, Fantin, Whistler and I were all on the same road, the road from Holland [Dutch 17th century painters]”

Edgar Degas (1834–1917) French artist

Quote of Degas, later recalled by Paul Poujaud (written in his letter to Marcel Guérin, 11 July 1936); as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 54
Degas is recalling his early works of the 1860's
quotes, undated

“1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.
2. This world of imagination is fancy-free and violently opposed to common sense.
3. It is our function as artists to make the spectator see the world our way not his way.
4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. (Rothko said this is the essence of academicism.)
6. There is no such thing as a good painting about nothing.
7. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.”

Adolph Gottlieb (1903–1974) American artist

June 13, 1943 edition of the New York Times, brief manifesto: Adolph Gottlieb with Mark Rothko and Barnett Newman.
1940s

Truth , World , Art , Way

“In this consists the difference between painting and poetry : the painter reproduces others, — the poet reproduces himself.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

Painting

“The progression of a painter's work, as it travels in time from point to point, will be toward clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer. As examples of such obstacles, I give (among others) memory, history or geometry, which are swamps of generalization from which one might pull out parodies of ideas (which are ghosts) but never an idea in itself. To achieve this clarity is, inevitably, to be understood.”

Mark Rothko (1903–1970) American painter

In Tiger’s Eye, Vol. 1, no 9, October 1949; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 170
1940's

Travel , History , Idea , Memory

“Willem de Kooning, they say, lost his memory. He lost his worldly memory. He lost the names of the people, he lost their faces... This is one of the reasons he paints as a real painter.”

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

People , Memory , Painting

“She didn't seem dead. There was only a swelling of the lips, as if she were angry. The strange thing was her idea of renting a painter's studio, having an armchiar, no less, drawn up s she could die in front of the window that looked toward Superga. A cat had given her away–it was in the room with her, and the next day, miaowing and scratching the door, it had made them open.”

Cesare Pavese (1908–1950) Italian poet, novelist, literary critic, and translator

Ending words
Among women only (1949)

Cats , Idea , Dead

“.. since then I have found consolation in Blake; 'Without Contraries is no progression', he says in his Proverbs of Hell. And Baudelaire's idea that 'Variety is an essential condition of life' seems to me to be in perfect accord with my aspirations and with my intention, as a Futurist painter, to put life in the place occupied by reasoning in the art of the Cubist period.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 247

Life , Art , Idea , Hell

“The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.”

Willa Cather (1873–1947) American writer and novelist

"The Novel Démeublé"
Not Under Forty (1936)

Learning , Drawing

“I returned to school [after the bus accident], but I felt very sore and had little strength. I took my paintings to Diego [Rivera], and he liked them a lot, most of all the self-portrait. But of the rest he told me that I was influenced by Doctor Atl [a Mexican painter and revolutionary] and by Montenegro, and that I should try to paint whatever I wanted without being influenced by anyone else. That impressed me a lot, and I began to paint that I believed in. Then the friendship and almost courtship with Diego began. I would go to see him paint in the afternoon, and afterwards he would take me home by bus or in a Fordcito – a little Ford that he had – and he would kiss me.”

Frida Kahlo (1907–1954) Mexican painter

1950
Source: 1946 - 1953, "Song of herself"; interviews by Olga Campos, Sept. 1950, Chapter 'My Painting', p. 74

Friendship , School , Home , Kiss

“The doctor who makes a friend of his patients, the lawyer who defends death penalty cases in distant countries for no fee, the schoolteacher who opens a child's eyes to a new world of books and poetry — such people do nothing that can be measured in marketplaces. The greatest painters, composers and writers don't offer you choices, they present you with what only they can do, and you must take it or leave it. So when such subjects as the values of the marketplace are discussed, you will probably not have much to contribute. You can repeat a poem in your head and wait until the conversation is over. But if anyone starts talking about "level playing fields," get up and steal quietly from the room.”

John Mortimer (1923–2009) English barrister, dramatist, screenwriter and author

Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 19 : The Marketplace

Death , People , Books , World

“A cloud of dust is not a beautiful thing to look at. Very few painters have done portraits of huge clouds of dust or included them in their landscapes or still life. Film directors rarely choose huge clouds of dust to play the lead roles in romantic comedies, and as far as my research has shown, a huge cloud of dust has never placed higher than twenty-fifth in a beauty pageant.”

Daniel Handler book The Vile Village

Lemony Snicket
The Vile Village (2001)

Life , Beauty

“I was walking along the Boulevard des Italiens [in February 1912, during a group exhibition of Futurist painters in Paris] when, as I passed in front of a newspaper stand, I had the pleasant surprise of seeing on the front page of the Journal the reproduction of my picture 'The Funeral of the Anarchist Galli.”

Carlo Carrà (1881–1966) Italian painter

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 29 - In his quote Carrà is refering to his painting 'The Funeral of the Anarchist Galli', he painted ca 1910/11

“He (the painter Manet) hits of the tone.... but his work lacks unity and temperament too.”

Paul Cézanne (1839–1906) French painter

ca. 1863
Quote in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 27
Quotes of Paul Cezanne, 1860s - 1870s

“It seems to me that the modern painter cannot express his age, the airplane the atom bomb, the radio, in the old forms of Renaissance or of any past culture. Each age finds its own technique…”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, p. 17

Age , Past

“Every really able man, in whatever direction he work,—a man of large affairs, an inventor, a statesman, an orator, a poet, a painter,—if you talk sincerely with him, considers his work, however much admired, as far short of what it should be.”

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

Immortality
1870s, Society and Solitude (1870), Books, Letters and Social Aims http://www.rwe.org/comm/index.php?option=com_content&task=category&sectionid=5&id=74&Itemid=149 (1876)

Sincerity

“The thing that makes you know that Vernon Ward is a good painter is if you look at his ducks, you can see the eyes follow you around the room.”

Peter Cook (1937–1995) British architect

"At The Art Gallery" (1965)
Not Only... But Also (1965 - 1970)

“Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers… directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan.”

Jorge Luis Borges book Tlön, Uqbar, Orbis Tertius

Tlön, Uqbar, Orbis Tertius (1940)
Context: Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that it is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it.

Secret , World

“Whoever does not see in a good light is a bad painter, a bad friend, a bad lover. Whoever does not see in a good light has not been able to lift his mind up to what is there or his heart to what is good.”

Joseph Joubert (1754–1824) French moralist and essayist

Context: Whoever does not see his friends in a good light loves them little. To see in a good light. — Whoever does not see in a good light is a bad painter, a bad friend, a bad lover. Whoever does not see in a good light has not been able to lift his mind up to what is there or his heart to what is good.

Lovers , Light , Heart

“It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island.”

M. C. Escher (1898–1972) Dutch graphic artist

1950's, On Being a Graphic Artist', 1953
Context: It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it's music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

World , Idea , Nature , Thinking

“The head, the face, the lines and features, contain everything for the painter who understands well enough to put it down.”

Patrick Swift (1927–1983) British artist

Nano Reid (1950)
Context: Nano Reid does not begin a portrait with any ideas about the person she draws. She is concerned with the head, its existence as a structure with certain characteristics. She is so much concerned with this that her portraits are inevitably deep studies of character and personality. The head, the face, the lines and features, contain everything for the painter who understands well enough to put it down.

Understanding

“At no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered.”

Germaine Greer The Obstacle Race: The Fortunes of Women Painters and Their Work

Source: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Context: By 1627 Judith Leyster was famous enough to be mentioned in Ampzing's description of the city of Haarlem; by 1661 she had been so far forgotten that De Bie does not mention her in his Golden Cabinet. Her eclipse by Frans Hals may have begun in her own lifetime, as a consequence of her marriage to Molenaer perhaps, for Sir Luke Schaub acquired the painting now known as The Jolly Companions as a Hals in Haarlem in the seventeenth century.
If Judith Leyster had not been in the habit of signing her work with the monogram JL attached to a star, a pun on the name her father had taken from his brewery, Leyster or Lodestar, her works might never have been reattributed to her: few paintings can boast of a provenance as clear as that of The Jolly Companions. As a result of the discovery that The Jolly Companions bore Leyster's monogram, the English firm which had sold the painting to Baron Schlichting in Paris as a Hals attempted to rescind their own purchase and get their money back from the dealer, Wertheimer, who had sold it to them for £4500 not only as a Hals but "one of the finest he ever painted." Sir John Millars agreed with Wertheimer about the authenticity and value of the painting. The special jury and the Lord Chief Justice never did get to hear the case, which was settled in court on 31st May 1893, with the plaintiffs agreeing to keep the painting for £3500 plus £500 costs. The gentlemen of the press made merry at the experts' expense, for all they had succeeded in doing was in destroying the value of the painting. Better, they opined, to have asked no questions. At no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered.

Time

“Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientist do, each in his own fashion.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Variant translation: One of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one's own ever-shifting desires. A finely tempered nature longs to escape from the personal life into the world of objective perception and thought. With this negative motive goes a positive one. Man seeks to form for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image. This is what the painter does, and the poet, the speculative philosopher, the natural scientist, each in his own way. Into this image and its formation, he places the center of gravity of his emotional life, in order to attain the peace and serenity that he cannot find within the narrow confines of swirling personal experience.
As quoted in The Professor, the Institute, and DNA (1976) by Rene Dubos; also in The Great Influenza (2004) by John M. Barry
1910s, Principles of Research (1918)
Context: Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientist do, each in his own fashion. Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way the peace and security which he cannot find in the narrow whirlpool of personal experience.

World , Intelligence , Fashion , Nature

“He took me to an office and introduced me to a Jewish boy who was to become one of the nation’s leading painters, to a chap who was to become one of the eminent composers of his day, to a writer who was to create some of the best novels of his generation, to a young Jewish boy who was destined to film the Nazi invasion of Czechoslovakia. I was meeting men and women whom I would know for decades to come, who were to form the first sustained relationships in my life.”

Richard Wright book Black Boy

Black Boy (1945)

Life , Women , Men , Boy

“Kairos can sometimes enter, penetrate, break through chronos: the child at play, the painter at his easel, Serkin playing the Appassionata are in kairos. The saint in prayer, friends around the dinner table, the mother reaching out her arms for her newborn baby are in kairos.”

Madeleine L'Engle (1918–2007) American writer

Section 4.21 
The Crosswicks Journal, A Circle of Quiet (1972)
Context: Chronology, the time which changes things, makes them grow older, wears them out, and manages to dispose of them, chronologically, forever.
Thank God there is kairos too: again the Greeks were wiser than we are. They had two words for time: chronos and kairos.
Kairos is not measurable. Kairos is ontological. In kairos we are, we are fully in isness, not negatively, as Sartre saw the isness of the oak tree, but fully, wholly, positively. Kairos can sometimes enter, penetrate, break through chronos: the child at play, the painter at his easel, Serkin playing the Appassionata are in kairos. The saint in prayer, friends around the dinner table, the mother reaching out her arms for her newborn baby are in kairos. The bush, the burning bush, is in kairos, not any burning bush, but the particular burning bush before which Moses removed his shoes; the bush I pass by on my way to the brook. In kairos that part of us which is not consumed in the burning is wholly awake.

Baby

“A painter paints his pictures on canvas. But musicians paint their pictures on silence.”

Leopold Stokowski (1882–1977) British conductor

Addressing an audience at Carnegie Hall, as quoted in The New York Times (11 May 1967); often this is quoted without the humorous final sentence.
Context: A painter paints his pictures on canvas. But musicians paint their pictures on silence. We provide the music, and you provide the silence.

Silence , Painting

“You must be painter who takes a canvas and does what he likes with it.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Encountering Directors interview (1969)
Context: You must be painter who takes a canvas and does what he likes with it. We are more like painters in past centuries who were ordered to paint frescoes to specific measurements. Among the people in the fresco may be a bishop, the prince's wife, etc. The fresco isn't bad simply because the painter used for models people from the court of the prince who ordered and paid for it.

“A real painting is something which happens to the painter once in a given minute”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Painting

“The Art of painting is itself an intensely personal activity… a picture is a unique and private event in the life of the painter”

Patrick Swift (1927–1983) British artist

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: The Art of painting is itself an intensely personal activity… a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object... And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Life , Art , Painting , Personality

“For even the painter himself cannot be fully aware of the way in which the picture gets made”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)
Context: For even the painter himself cannot be fully aware of the way in which the picture gets made: there is a wide area of the unpredictable in the act of pushing paint about in the definition of an image.

Way

“I read the other day some verses written by an eminent painter which were original and not conventional. The soul always hears an admonition in such lines, let the subject be what it may.”

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

1840s, Essays: First Series (1841), Self-Reliance
Context: I read the other day some verses written by an eminent painter which were original and not conventional. The soul always hears an admonition in such lines, let the subject be what it may. The sentiment they instil is of more value than any thought they may contain. To believe your own thought, to believe that what is true for you in your private heart is true for all men, — that is genius. Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost, — and our first thought is rendered back to us by the trumpets of the Last Judgment.

Soul , Reading

“We celebrate kings, we honor great men, we admire aristocrats, we applaud actors, we shower gold on portrait painters and we even, sometimes, reward soldiers, but we always despise merchants.”

Bernard Cornwell (1944) British writer

Colonel Hector McCandless, and Private Richard Sharpe, p. 300
Sharpe (Novel Series), Sharpe's Tiger (1997)
Context: "That's what it's about, Sharpe, trade. That's why you're fighting here, trade." "It seems a funny thing to be fighting about, sir." "Does it? Not to me, Sharpe. Without trade there's no wealth, and without wealth there's no society worth having. Without trade, Private Sharpe, we'd be nothing but beasts in the mud. Trade is indeed worth fighting for, though the good Lord knows we don't appreciate trade much. We celebrate kings, we honor great men, we admire aristocrats, we applaud actors, we shower gold on portrait painters and we even, sometimes, reward soldiers, but we always despise merchants. But why? It is the merchant's wealth that drives the mills, Sharpe; it moves the looms, it it keeps the hammers falling, it fills the fleets, it makes the roads, it forges the iron, it grows the wheat, it bakes the bread, and it builds the churches and the cottages and the palaces. Without God and trade we would be nothing."

Men

“While its true that masculinity must be forced and fostered, this is also true of any human potentiality. One must be forced, or force oneself to learn a language or play an instrument or solve mathematical equations. No one calls an accomplished dancer, painter, athlete or singer a phony because it took years of disciplined practice and some kind of nurturing environment to become what they are- for them to develop their talents to their full potential. On the contrary, to ignore these talents is considered a tragedy.”

Jack Donovan (1974) American activist, editor and writer

pg 31
A More Complete Beast (2018)

Mathematics , Learning

“The new artist-society will consist of painters, sculptors and architects. The founders don’t intend that the character of the union will be determined by one single art movement. They believe that there is room for every important expression of this period and they intend the new union as a gathering place for the best young artists, who will collectively determine the character of the society.”

Charley Toorop (1891–1955) Dutch painter

translation from original Dutch: Fons Heijnsbroek
(original Dutch: tekst in circulaire van Charley Toorop, in het Nederlands:) De nieuwe vereeniging zal bestaan uit schilders, beeldhouwers en architecten. De oprichters stellen zich niet op het standpunt, dat het karakter der vereeniging door één enkele kunstrichting bepaald wordt. Zy gelooven dat voor iedere belangrijke uiting van deze tyd plaats is en bedoelen de nieuwe vereeniging als verzamelplaats voor de beste jonge kunstenaars, die gezamenlyk het karakter van de vereeniging bepalen.
text of Charley Toorop, in a circular for possible members of the new artist-society 'A.S.B.', Amsterdam 8 Dec. 1926; in the Archive J.J.P. Oud, Nederlands Architectuur museum, Rotterdam
before 1930

Art

“My brother Jaap was born as a painter, which means he really enjoyed it.”

Matthijs Maris (1839–1917) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Matthijs Maris, in het Nederlands: mijn broer Jaap 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

“Just follow the lead of the Dutch seventeenth-century master-painters, we have to look at the country around us in the way the old masters did.”

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

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, in het Nederlands:) Neem toch een voorbeeld aan de Hollandse zeventiende-eeuwse meesters, we moeten kijken naar het land om ons heen zoals de oude meesters dat deden.
as cited in Anton Mauve en de Haagse School, S.F.M. de Bodt, in 'Openbaar Kunstbezit', Den Haag, 1997b, p. 30
undated quotes

Way , Country

“In the end each man experiences only himself. To refer to your neighbour or twenty million of them for your touchstone of reality is a logical nonsense in the life of the individual person. When one reflects on the personality of Lautrec in these pictures, brave, unconcerned, scornful, and violent, it becomes a monstrosity of sophism to consider his size or shape as relevant factors. The painter celebrates life where he finds it. His morality is the morality of enjoyment, of the continuous development of his own taste without shame or fear. It is a sort of heroism.”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)

Personality , Fear , Life , Reality

“Painting in the chamber of a Prince who was indisposed, the Physician said, that he hoped bymeans of his Highness, to obtain also the favor of a picture by Salvator. The Prince made he request, and Salvator readily consented. The Physician then desired the Painter not to egin his picture till he had given him the idea, nd the design. Salvator made no reply; ut when the Physician called for pen and ink o write his prescription, he desired him to stop ill he should tell him what to write. The Docor, not comprehending his meaning, said * Signor Salvator, this is a business which conerns me, not you.”

Peter Beckford (1643–1710) Governor of Jamaica

"I would have you to know Mr. Doctor" replied Salvator, " that I can more easily instruct you in the cure of your tickt than you can me in the art I profess, being a much better Painter than you are a Physician.'

Business , Idea , Painting , Hope

“I have been reading Miss Austen's Emma, which I had entirely forgotten, with the greatest enjoyment. I think it an admirable book, & I dare say you will agree with me. Miss Austen is an inimitable painter of quiet life. It would be difficult to say where the interest of Emma lies, yet it does interest strongly. There is no fine writing; no laboured description; no imaginative or ideal touches; no working on the feelings. Its magic must be its truth. It is exquisitely true. Life is presented to us, not as it may be taken in rare situations, in picturesque emergencies, but as we see it everyday. Common, workday life, with here & there a suit of best for Sundays. Yet there is nothing trivial. It is what Alfred calls in one of his unfinished poems "most ideal unideal, most uncommon commonplace."”

Jane Austen (1775–1817) English novelist

Dignity in the sentiments, dignity in the style. Quite a woman's book — (don't frown, Miss Fytche — I mean it for compliment) — none but a woman & a lady could possess that tact of minute observation, & that delicacy of sarcasm.
Arthur Henry Hallam, letter to fiancé Emily (Emilia) Tennyson (1833-01-25), Jane Austen and her Readers, 1786-1945, by Katie Halsey (Anthem Nineteenth-Century Series)

Imagination , Reading , Truth , Thinking

“This age proclaims the sovereignty of the citizen, and the inviolability of life; it crowns the people, and consecrates man. In art, it possesses all varieties of genius,—writers, orators, poets, historians, publicists, philosophers, painters, sculptors, musicians; majesty, grace, power, force, splendour, colour, form, style; it renews its strength in the real and in the ideal, and bears in its hand the two thunderbolts, the true and the beautiful. In science it accomplishes unheard-of miracles; it makes of cotton salt petre, of steam a horse, of the voltaic battery a workman, of the electric fluid a messenger, of the sun a painter; it waters itself with subterranean streams, pending the time when it shall warm itself with the central fire; it opens upon the two infinites those two windows, the telescope upon the infinitely great, the microscope upon the infinitely little, and it finds stars in the first abyss, and insects in the second, which prove to it the existence of God... It annihilates time, it annihilates space, it annihilates suffering; it writes a letter from Paris to London, and has an answer in ten minutes; it cuts off a man's leg, the man sings and smiles.”

Victor Hugo (1802–1885) French poet, novelist, and dramatist

Conclusion, Part Second, II
Napoleon the Little (1852)

Singing , God , Time , Sun

“One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”

Alexander Calder (1898–1976) American artist

1920s, Excerpt, Statement on Wire Sculpture (1929)

Making love

“The last scene came really, really early, disconnected from even the idea of a woman painter…I wanted to write a love story and I thought, ‘What do I want to tell?’ And that scene came up really, really quickly, alone, by itself. The weird compass of the film was its last scene. That’s a compass, but it’s a high pressure one.”

Céline Sciamma (1978) French director and screenwriter

On her creative process for Portrait of a Lady on Fire in “‘Portrait of a Lady on Fire’ Filmmaker Céline Sciamma Is Trying to Break Your Heart” https://www.indiewire.com/2019/12/portrait-of-a-lady-on-fire-filmmaker-celine-sciamma-interview-1202193537/ in IndieWire (2019 Dec 05)

Idea , Love , Making love

“Without my husband I would never have become a painter, and without me he had probably not become a painter.”

Sina Mesdag-van Houten (1834–1909) Dutch painter

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Sientje Mesdag van Houten, in het Nederlands:) Zonder mijn man was ik nooit schilderes geworden, en zonder mij was hij waarschijnlijk geen schilder geworden.

Quote in the magazine 'Wereldkroniek', 21 April 1906; as cited on website Panorama Mesdag http://www.panorama-mesdag.nl/ontdek/mesdag/?gclid=EAIaIQobChMI5cO-hZzH3QIVDYmyCh0duwn1EAAYAiAAEgKqIPD_BwE

“While holding a keen eye on all the yelling at the markets, let's prefer to stay away from many of those things that attract at times other painters - if necessary, unknown - to be able to continue the work quietly at times.”

Jan Mankes (1889–1920) Dutch painter

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Jan Mankes, in het Nederlands:) Laten we, scherp oplettende buiten alle marktgeschreeuw te blijven, ons liever buiten veel van die dingen houden die andere schilders soms aantrekken; om desnoods onbekend rustig door te kunnen werken tot tijd en wijle.

Quote of Jan Mankes, c. 1912; as cited by Kasper Niehuys in Dutch art-magazine Levende Nederlandse Kunst, p. 202

Mankes' reaction at the proposal of a large exhibition of his works in 1912
1909 - 1914

Time

“..the art-reviews on my work in the French and English magazines.. ..[are] enough to claim that I already have reached a prominent position among today's marine painters. I would also like to take this fact into consideration when determining my prices.”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Hendrik Willem Mesdag's brief, in het Nederlands:) ..de critieken op mijn werk in de Fransche, Engelsche bladen [zijn].. ..voldoende om te kunen beweren dat ik reeds nu onder de tegenwoordige marine schilders een voorname plaats inneem. Dit wil ik ook bij het stellen [bepalen] mijner prijzen in aanmerking genomen hebben.

In a letter to art-sellers Goupil in The Hague, 1870's; as cited in De Copieboeken of De Wording van de Haagsche School, Johan Poort; Mesdag Documentatie Centrum, Wassenaar, 1996, pp. 89-90
before 1880

Art

“Throughout the entire Buddhist world the rocks on the roadsides, with the images of Maitreya, point out the approaching future. From the most ancient times until now this Image has been erected by Buddhists who know the approach of the New Era. In our day, venerable lamas, accompanied by disciples, painters, and sculptors, travel through the Buddhist countries, erecting new images of the symbol of aspirations toward the radiant future.”

Helena Roerich (1879–1955) Russian philosopher

Source: Foundations of Buddhism (1930)

Time , Country , Future , World

“When independent-thinking people (and here I do not include the corporate media) begin to rally under flags, when writers, painters, musicians, film makers suspend their judgment and blindly yoke their art to the service of the “Nation,” it’s time for all of us to sit up and worry.”

Arundhati Roy (1961) Indian novelist, essayist

Source: Articles, Come September (29 Sep 2002)

People , Time , Art , Thinking

“My bill would allow people to become an apprentice as a painter, as a glazier, as an electrician, to work for a small business, for a union doing private work, and really develop the skills to have meaningful work in either the public sector or the private sector.”

Ro Khanna (1976) U.S. Representative from California

Source: Quoted in California congressman has a “jobs for all” plan to unite both wings of the Democratic Party, By A.P. Joyce, Mic https://mic.com/articles/189491/california-congressman-has-a-jobs-for-all-plan-to-unite-both-wings-of-the-democratic-party# (28 May 2018)

People , Business