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The artist should not only paint what he sees before him, but also what he sees in himself. If, however, he sees nothing within him, then he should also refrain from painting what he sees before him. Otherwise his pictures will be like those folding screens behind which one expects to find only the sick or the dead.
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Quoted in "The Awe-Struck Witness" in TIME magazine (28 October 1974) and in "On the Brink : The Artist and the Seas" by Eldon N. Van Liere in Poetics of the Elements in the Human Condition: The Sea (1985) edited by Anna-Teresa Tymieniecka
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Variant translations: The artist should not only paint what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also omit to paint that which he sees before him.
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As quoted in German Romantic Painting (1994) by William Vaughan, p. 68

 

Caspar David Friedrich

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The Cartesian formula of doubt is certainly the great exorcism of madness. Descartes closes his eyes and plugs up his ears the better to see the true brightness of essential daylight; thus he is secured against the dazzlement of the madman who, opening his eyes, sees only night, and not seeing at all, believes he sees when he imagines. In the uniform lucidity of his closed senses, Descartes has broken with all possible fascination, and if he sees, he is certain of seeing that which he sees. Descartes has broken with all possible fascination, and if he sees, he is certain of seeing that which he sees. While before the eyes of the madman, drunk on a light which is darkness, rise and multiply images incapable of criticizing themselves (since the madman sees them), but irreparably separated from being.

 

Michel Foucault

 

The painter should paint not only what he has in front of him, but also what he sees inside himself. If he sees nothing within, then he should stop painting what is in front of him.

 

Caspar David Friedrich

 

One might have thought of sight, but who could think
Of what it sees, for all the ill it sees?
Speech found the ear, for all the evil sound,
But the dark italics it could not propound.
And out of what sees and hears and out
Of what one feels, who could have thought to make
So many selves, so many sensuous worlds,
As if the air, the mid-day air, was swarming
With the metaphysical changes that occur,
Merely in living as and where we live.

 

Wallace Stevens

 

I think we must see this very clearly right at the beginning — that if one would solve the everyday problems of existence, whatever they may be, one must first see the wider issues and then come to the detail. After all, the great painter, the great poet is one who sees the whole — who sees all the heavens, the blue skies, the radiant sunset, the tree, the fleeting bird — all at one glance; with one sweep he sees the whole thing. With the artist, the poet, there is an immediate, a direct communion with this whole marvellous world of beauty. Then he begins to paint, to write, to sculpt; he works it out in detail. If you and I could do the same, then we should be able to approach our problems — however contradictory, however conflicting, however disturbing — much more liberally, more wisely, with greater depth and colour, feeling. This is not mere romantic verbalization but actually it is so, and that is what I would like to talk about now and every time we get together. We must capture the whole and not be carried away by the detail, however pressing, immediate, anxious it may be. I think that is where the revolution begins.

 

Jiddu Krishnamurti

 

good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.

 

H. P. Lovecraft