Printmakers

"Beauty is very much broader than just to the eye. It is our whole, positive response to life. An artist is fortunate in that his work is the inner contemplation of beauty, of perfection in life. We cannot make anything perfectly, but with inner contemplation of perfection, we can suggest it."

"When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision."

"Some things fail and others succeed. Well, then you get quite desperate, and you think: 'I am going to work and work and I'm not going to have any failures.' But then you find out that failures are inevitable; you can't even draw a straight line, you know that."

"When I think of art, I think of beauty. Beauty is the mystery of life. It is in the mind, not in the eye. In our minds, we have an awareness of perfection that leads us on.. .The response to beauty is emotion. Sometimes very subtle emotions of which we are almost not aware, and sometimes our most powerful emotions.."

"You can't make a perfect painting. We can see perfection in our minds. But we can't make a perfect painting."

"To neglect your own mind, that's like to neglect your consciousness. That’s like to give up all hope of joy and happiness, really. You're the only one that can discover for you the meaning of anything. What it means to you. By that, I don't mean intellectual meaning. I mean, what it means, how it makes you feel. You have to see whether you really are happy or not. Whether you really are sad or not. And you have to investigate what goes through your mind."

"Inspiration comes from a clear mind. Right straight through. We have nothing to do with it."

"You can't be in an unconscious state and paint. Because whatever is in your mind, and not the subject matter, but the feelings that you have related to that subject matter, is what you're going to paint. So, the beginning is not actually painting, you know. The beginning of painting is not you put down green, and then you like pink, and you put down pink. Painting's not about that anymore than music is about this sound and that sound.. ..And it's something that drives you to expression. And it's irresistible."

"To live truly and effectively the idea of achievement must be given up. Put unsentimental piety first, turn your back on the world, and get on with it."

"It takes time, see. You finish painting the painting and then you turn it to the wall. I mean, you say, does it have it or doesn't it have it? If it doesn't have it, you throw it away, but if you think it has it, you turn it to the wall. And then when you have made some more work, then you turn them all over. And you, again, try to see exactly what it does mean and just exactly how effectively you have rendered this meaning."

"When the landscape had struck him especially by its general planes, he flung it on the canvas in those marvelous sketches which the artist refused to carry on further because he had nothing to add to this massy statement; at other times he insinuates himself into the details as exhaustively as possible and refines on his work to the utmost limits of execution. In this way the career of Daubigny is based on the simple and truthful art-theory that the handling of a picture ought to reflect the mood felt."

"The dwellers on the banks of the Oise and the Seine knew him [Daubigny] well. The ambulant landscape painter was more especially designated by the title of the 'Captain', a rank which vastly flattered him, for by dint of living on the water he had acquired a sailor's roughness and a sailor's pride in good navigation. The boat used by Daubigny was arranged for long voyages; the cooking was done on board; there was a good wine cellar; you drank deep and you worked hard. The sketches accumulated; and when winter was come, Daubigny returned to Paris provisioned with the booty of art and nature, the landscapes which, towards the close of his life, collectors and dealers battled for. How many times I have seen him thus, in his latter days, when his hair had grown white.."

"Another landscape painter, one of the first of our time, whose beginnings were rough, was always supported and guided by Corot. M. Daubigny well knows how, in hours of depression, his master appeared, as if by chance, and just in time to wind him up with good advice and praises."

"First and foremost, the masterly etching, 'The Bush', by Daubigny/Ruisdael. [= Daubigny's etching 'The bush', he made after Jacob van Ruisdael ].. ..I plan to do two drawings, either in sepia or something else, one of them after this etching [by Daubigny] — the other [etching, made] after T. Rousseau's 'The oven in Les Landes'. This latter sepia is already done — it's true — but if you compare it with Daubigny's etching, you'll understand that it becomes weak, even though the sepia drawing considered on its own may very well have a certain tone and sentiment. I have to go back to it and work on it again.. ..I couldn't tell you how happy I feel to have taken up drawing again. It had already been on my mind for a long time, but I always saw the thing as impossible and beyond my reach."

"The boat used by Daubigny was arranged for long voyages; the cooking was done on board; there was a good wine cellar; you drank deep and you worked hard. The sketches accumulated, and when winter was come, Daubigny returned to Paris provisioned with the booty of art and nature, the landscapes which, toward the close of his life, collectors and dealers battled for."

"It is a pity that M. Daubigny, the landscape painter, with a sentiment so true, just and natural, contents himself with a first impression and neglects at this point the details. His pictures are no more than sketches, and sketches little advanced; it is to a system that one should attribute this careless manner which we believe dangerous for the future of the painter if he does not quickly abandon it. Each object delineates itself by an apparent or real contour, but the landscapes of M. Daubigny offer little except spots of color placed in juxtaposition. It needs, however, but a few days' labor to make excellent pictures of these insufficient preparations."

"Those were the times when Les Vallées [ Auverse ] were full of life. Monsieur Daubigny would go off on the plain in the early morning, work an hour or two, and then start for he river. Sometimes he would come to draw my donkey or have some rabbits let loose in the kitchen here to sketch from. I always attended to his garden in which he was very much interested."

"Mr. Daubigny is again to be found among the new landscapist group. I do not know anyone who was a more intimate feeling for nature, and who can better make it felt [in his former paintings]. But why does he only produce [now] rough sketches like 'La Moisson' and the 'Vue Pris sur les Bords de la Seine'. This latter is particularly beautiful. Is Mr. Daubigny afraid if ruining his work by finishing it? But that would be an avowal of weakness. I have a better opinion of his talent and I am convinced that a man who has begun so well could not finish badly."

"Adieu, adieu, I am going to see up there [after death] whether friend Corot has found me any new subjects for landscape painting."

"[at Daubigny's place where] ..animated conversations on the direct study of nature or the comparative merits of Haarlem paint driers and thick oil paints were often interrupted bu bursts of merriment greeting a witticism of one of the guests, who included non other than Corot, Daumier, Geoffroy-Dechaume, etc.."

"It was among the apple-blossoms, in the pure air of the country, that he passed his earlier years and imbibed that love of the fields which became the passion of his life."

"I thank heaven that I was born in the same century as this remarkable artist [= Daubigny] ]."

"Speak to me no more of the old masters. Not one of them can stand up to this sturdy fellow [=Courbet ]."

"I have bought at Auverse thirty perches of land, all covered with beans, on which I shall plant some legs of mutton when you come to see me. They are building me a studio there, some eight by six meters, with several rooms around it, which will serve me, I hope, next Spring [of 1861]. Father Corot has found Auvers very fine, and has engaged me to fix myself there for a part of the year, wishing to make rustic landscapes with figures. I shall be truly well of there, in the midst of a good farming country, where the ploughs do not yet go by steam."

"My travelling companion [= Corot] has just abandoned me. He's a perfect Father Joy, this Father Corot. He is altogether a wonderful man, who mixes jokes in with his very good advice."

"[I] preferred paintings full of daring to the nullities welcomed into every Salon."

"I was not able to work in the several excursions and ascensions made in the neighborhood, where it was very beautiful. One is so surprised by these grand aspects that it would be necessary to remain a long time before finding the interpretation capable of rendering them. I am going to finish the season at Auvers. There is nothing like one's natural every-day surroundings where one really takes pleasure. The pictures we do then feel the effect of their home-life, and the sweet sensations we experience in it."

"Unfortunately, we have no clues about Segers's reputation as an etcher during his lifetime, and it seems very probable that those of his prints which have survived were originally gathered in a few large, privately owned and therefore inaccessible groups. This inaccessibility partly explains their minimal influence on later artists."

"[ Rembrandt ] admired Seger's reworking of the [etch-]plate to create different states. This adventurous approach to printmaking [new developed by Segers] was taken up enthusiastically by Rembrandt, and gives a new significance undreamt of by Segers."

"Another fitting example here is that of Hercules Segers, disregarded and yet a great artist... ...His observation was unwavering and effective, particularly in his design of landscapes and compositions, with imaginary mountains and caves. It was as if he were pregnant with whole provinces, giving birth to them with immeasurable spaces, and picturing them to a marvel in his paintings and prints."

"..although he even painted and printed on his shirts and the sheets from his bed (for he also printed paintings), he and his whole family remained in abject poverty, so that his dejected wife eventually complained that there was not a piece of linen left that had not been used for paintings or prints."

"Before Segers began touching up his prints with the brush, he had used hand-tinted papers on which to print his etchings.. .By varying the tints he was able to clarify the relation of successive planes to each other. But spatial clarity was not enough. What mattered more to Segers was bringing out the structure of the landscape.. ..he goes especially far in specifying, with the brush [in the etching] the particularities of the terrain."

"The method of printing with three wooden blocks produces painterly prints. But Hercules Segers first applied a layer of paint to his papers or fabrics for his smooth compositions of skies, horizons and foregrounds, and then printed on to them, in a very effective and painterly manner."

"It is a common failing among practitioners of art to become accustomed to a way of coloring, as if things were bound to their manner, and not their manner bound to the nature of things. Many, however, because of a certain natural inclination, adopted manners of coloring that seemed ideally suited to that branch of art to which they were most inclined. And so Hercules Segers concerned himself with savage mountains: and one [another artist:] Liefrinck painted imaginative rocks. Gemstones are also wonderfully colored, and the attractions of shells and other treasures from the sea have their particular admirers."

"And it is understandable, if it were possible to print finished paintings, as Hercules Segers has done with landscapes in our time, that it would no longer be easy to find anyone who would want to devote much labor and time to producing his works."

"I have no doubt that Sue's art … is of historic importance. A hundred years from now and more, assuming our species has managed to survive, Sue Coe's work will hang in all the great museums of the world."

"Sue Coe … has done more through her paintings and prints to help animals than any other artist in history."

"[Describing her visit to a slaughter facility in Pennsylvania] The floor was very slippery and the walls and everything else were covered with blood. Dried blood had formed a crust on the chains. I surely didn't want to fall down in all that blood and guts. The workers wore non-slip boots, yellow aprons, and helmets. It was a scene of controlled, mechanized chaos."

"Opposers of compassion urge: ‘If we should live on vegetable food, what shall we do with our cattle? What would become of them? They would grow so numerous they would be prejudicial to us—they would eat us up if we did not kill and eat them.’ But there is abundance of animals in the world whom men do not kill and eat; and yet we hear not of their injuring mankind, and sufficient room is found for their abode. Horses are not usually killed to be eaten, and yet we have not heard of any country overstocked with them. … Cattle are at present an article of trade, and their numbers are industriously promoted. … Self-preservation justifies a man in putting noxious animals to death, yet cannot warrant the least act of cruelty to any being. … Some animals are savage and unfeeling; but let not their ferocity and brutality be the standard pattern of the conduct of man. Because some of them have no compassion, feeling, or reason, are we to possess no compassion, feeling, or reason?"

"What I see is teeming cohesion, contained dispersal…. For him, to sculpt is to take the fat off space."

"I mean, the official definition of Surrealism is to make a work automatically without a priori aesthetic or moral conditions, which is exactly what we do [artist in New York School / Abstract Expressionism]. At the same time Surrealism was an assault, - with a few exceptions: Giacometti, Arp and Miro - on the 'purity' of painting. I mean mean, on making painting - means themselves speak, without reliance on literature; and that second insistence of Surrealism, Americans really rejected. So that historically.. .Abstract Expressionism is in part, I think, a fusion of certain Surrealist means, above all plastic 'automatism' with the Cubist's insistence that the picture speaks as a picture in strictly pictorial language."

"One starts by seeing the person who poses, but little by little all the possible sculptures of him intervene... The more real a real vision of him disappears, the stranger his head becomes."

"Whores are the most honest girls. They present the bill right away. The others hang on and never let go."

"There's no doubt but that without this liberté, égalité and fraternité there could not have been a Monet, Modigliani, Picasso, or Giacometti."

"And then the wish to make compositions with figures. For this I had to make (quickly I thought; in passing), one or two studies from nature, just enough to understand the construction of a head, of a whole figure, and in 1935 I took a model. This study should take, I thought, two weeks and then I could realize my compositions...I worked with the model all day from 1935 to 1940...Nothing was as I imagined. A head, became for me an object completely unknown and without dimensions."

"That's the terrible thing: the more one works on a picture, the more impossible it becomes to finish it."

"A little after I started to do sculpture, I painted some of them, and then I destroyed them all. I've begun again several times. In 1951, I painted a whole series of sculptures. But in painting them, you see what the form lacks. And it's useless to paint over something that you don't believe in. I tried again a month ago. In painting them, the deficiencies of form came through."

"It isn't necessary to make things large to make them monumental; a head by Giacometti one inch high would be able to vitalize this whole space."

"In every work of art the subject is primordial, whether the artist knows it or not. The measure of the formal qualities is only a sign of the measure of the artist's obsession with his subject; the form is always in proportion to the obsession."

"Figures were never for me a compact mass but like a transparent construction."