..But it doesn’t frighten me, because I studied in France, thank God, and I know of no artist in history who was not ‘literary’ when it came down to it. Not a single one. And even if they don’t appear to be, I know of none and you at least don’t recall them, because there is nothing to recall.. ..Sometime or other I’d like to see a << pure >> artist, but I didn’t even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word << sujet >> conceals the point of the thing. Yet even the most beautiful and << emptiest >> sujet (an apple, a grape or any << non-figurative painting >>) doesn’t help if there are no foundations, either innate or acquired through hard work.. ..Why don’t we say clearly: << That is freedom, and this is commitment to the subject >> and << to each tree its berries >>, but let it be a tree and not a donkey..
--
a letter to A. N. Benois, 1918; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 150Marc Chagall
In my paintings, the question on whether figures are similar or not is not of any importance, the slightest change of figure or color can create a new painting and it doesn't really matter if a subject is revisited by an artist repeatedly. With enough time in between paintings, an artist can always bring to it something new.
Guity Novin
I venture out to the great ‘sujet’; but, I repeat, my painting always remains object painting; it starts around 1936 with Adam et Eve. My figures humanise themselves further, but I always stick to the pictorial circumstance – no eloquence, no romanticism -
Fernand Leger
The vision of the artist or the poet is the intermediate determinant between the subject (the person) and the objective pole (the world-waiting-to-be). It will be nonbeing until the poet's struggle brings forth an answer — meaning. The greatness of a poem or a painting is not that it portrays the thing observed or experienced, but that it portrays the artist's or the poet's vision cued off by his encounter with the reality. Hence the poem or the painting is unique, original, never to be duplicated. No matter how many times Monet returned to paint the cathedral at Rouen, each canvas was a new painting expressing a new vision.
Rollo May
When Jackson talked about painting he didn’t usurp anything that wasn’t himself. He didn’t want to change anything, he wasn’t using any outworn attitude about it, he was always himself. He just wanted to be in it (in the painting, fh) because he loved it. The response in the person’s mind to that mysterious thing that has happened before has nothing to do with ‘who did it first’. Tomlin however, did hear these voices and in reference to his early work and its relation to Braque, I like him for that. He was not an academician of Cubism even then; he was an extremely personal and sensitive artist.
Franz Kline
In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal.
Ellsworth Kelly
Chagall, Marc
Chain, Ernst
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