George Bernard Shaw
[Writer, critic, and dramatist, b. 1856, Dublin, d. 1950, Ayot St. Lawrence, Hertfordshire, England.]

 The hand of the painter is incurably mechanical: his technique is incurably artificial... The camera... is so utterly unmechanical. 

Louis Aragon
[Artist, poet, and writer, b. 1897, Neuilly, France, d. 1982, Paris.]

 As we know, cubism was a reaction on the part of painters to the invention of photography. Photography and cinema made struggling for exact likeness childish. (1935) 

Gerhard Richter
[Artist, b. 1932, Dresden, lives in Düsseldorf.]

 I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic thing that anyone could do. 

John Ruskin
[Artist, writer and poet, b. 1819, London, d. 1900, Coniston Water, England.]

 I tell you (dogmatically, if you like to call it so, knowing it well) a square inch of man’s engraving is worth all the photographs that were ever dipped in acid... Believe me, photography can do against line engraving just what Madame Tussaud’s wax-work can do against sculpture. That and no more. (1865) 

John Gutmann
[Photographer, b. 1905, Breslau, Germany, (now Wroclaw, Poland), d. 1998, San Francisco, California.]

 To me, photography was a completely new medium, and I did not... feel the urge to transfer to it my ideas about painting. 

Edvard Munch
[Artist, b. 1863, Loten, Hedmark, Norway, d. 1944, Oslo, Norway.]

 The camera cannot compete with painting so long as it cannot be used in heaven and in hell. 

Edward Steichen
[Photographer and curator, b. 1879, Luxembourg, Germany, d. 1973, West Redding, Connecticut.]

 Every other artist begins [with] a blank canvas, a piece of paper... the photographer begins with the finished product. 

Vik Muniz
[Artist, b. 1961, Sao Paulo, Brazil, lives in New York.]

 Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century. 
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