Paula Modersohn-Becker: Thing

Paula Modersohn-Becker was German artist. Explore interesting quotes on thing.

Paula Modersohn-Becker: 110 quotes1 like

“I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.”

Paula Modersohn-Becker

quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
1900 - 1905

“In my first year of marriage I have often wept and the tears fall often as they did in my childhood - in large drops. They occur when I hear music and when I see beautiful things which move me. In the last analysis, I live alone just as much as I did in my childhood. This aloneness makes me sometimes sad and sometimes happy. I believe it deepens one's life. One lives less according to outward appearances... One lives inwardly.”

Paula Modersohn-Becker

note from her Journal, March 1902; as quoted by Susan P. Bachrach, in 'Paula Modersohn-Becker (1876-1907) Woman and Artist as Revealed Through Her Depiction of Children', (text on: Fembio - Notable Woman International: Biographies http://www.fembio.org/english/biography.php/woman/biography_extra/paula-modersohn-becker/) <br class="br">1900 - 1905

“Today I painted my first plain air portrait at the clay pit, a little blond and blue-eyed girl. The way the little thing stood in the yellow sand was simply beautiful – a bright and shimmering thing to see. It made my heart leap. Painting people is indeed more beautiful than painting a landscape. I suppose you can notice that I am dead-tired, after this long day of hard work, cant you? But inside I am so peaceful and happy..”

Paula Modersohn-Becker

in a letter to her mother, from Worpswede, August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 79
1897

“My mind has been so much occupied these days by the thought of Cézanne, of how he has been one of the three or four powerful artists who have affected me like a thunderstorm, like some great event. Do you still remember what we saw at Vollard [art-seller in Paris who showed Cézanne's works frequently in his gallery] in 1900? And then, during the final days of my last stay in Paris, those truly astonishing early paintings of his at the Galerie Pellerin. Tell your husband he should see the things there... If it were not absolutely necessary [Paula was pregnant] for me to be here right now [Germany], nothing could keep me away from Paris.”

Paula Modersohn-Becker

In a letter from Worpswede, 21 October, 1907, to her friend Clara Rilke-Westhoff; as quoted in Voicing our visions, - Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 208
October 1907 Rilke started to write his famous series 'Letters on Cézanne' to his wife Clara Rilke-Westhoff
1906 + 1907

“My blonde was here again today. This time with her little boy at her breast. I had to draw her as a mother, had to. That is her single true purpose. Marvelous, these gleaming white breasts in her fiery red blouse. The whole thing is so grand in its shape and color..”

Paula Modersohn-Becker

excerpt of Marianne's Journal, Worpswede 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 193
1897

“If I could really paint! A month ago I was so sure of what I wanted. Inside me I saw it out there, walked around with it like a queen, and was blissful. Now the veils have fallen again, gray veils, hiding the whole idea of me. I stand like a beggar at the door, shivering in the cold, pleading to be let in. It is hard to move patiently, step by step, when one is young and demanding... I walk along the boulevards [Paris] and crowds of people pass by and something inside me cries out, 'I still have such beautiful things before me. None of you, not one, has such things.”

Paula Modersohn-Becker

And then it cries, 'When will it come? Soon?'
excerpt of her Journal, Paris 1897; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 195
1897

“I really see nothing of other people. I'm trying to dig my way back again into my work. One absolutely has to dedicate oneself, every bit of oneself, to the one inescapable thing. That's the only way to get somewhere and to become something.”

Paula Modersohn-Becker

In a letter to her parents, Worpswede, 10 September 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 199
1899

“I must learn how to express the gentle vibration of things, their roughened textures, their intricacies. I have to find an expression for that in my drawing, too, in the way I sketched my nudes here in Paris, only more original, more subtly observed. The strange quality of expectation that hovers over muted things [skin, Otto's Otto Modersohn forehead, fabrics, flowers]; I must try to get hold of the great and simple beauty of all that. In general, I must strive for the utmost simplicity united with the most intimate power of observation. That's where greatness lies.”

Paula Modersohn-Becker

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, pp. 197-198
1898

“I lay under the buckthorn tree. My soul was enchanted. I looked up through its leaves. The sun was coloring them a briljant yellow. They stood out from their delicate red stems, laughing at the sky.
And the sky was deep blue with one small cloud. And the blue was a glorious contrast to the yellow of the leaves. And the wind came and played with them, turning them over so that I could see their shiny upper surfaces. And the wind came down to me, too, bringing me armfuls of sweet fragrance.
The buckthorn was in blossom and that was the prettiest thing about it. Its scenty filled the soft air and covered me in a dream, tenderly, ans sang to my soul a tale of times before I ever was, and of times when I shall be no more..”

Paula Modersohn-Becker

from her Journal, in Lilleon, June 1898; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 105
1898

“There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.... It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.”

Paula Modersohn-Becker

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 18 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 297
1900 - 1905

“I was reading about and looking at Mantegna [Italian early-Renaissance painter]. I can sense how good he is for me. His enormous plasticity - it has such powerful substance. That is just what is lacking in my things. I could do something about that if I could add his substantiality to the greatness of form I'm struggling for. At present I see before my eyes very simple and barely articulated things. My second major stumbling is my lack of intimacy. Mackensen's [her former teacher] way of portraying the people here is not great enough for me, too genre like. Whoever could, ought to capture them in runic script..”

Paula Modersohn-Becker

excerpt of her Journal, Worpswede 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

“This past summer I realized that I am not the sort of woman to stand alone in life. Apart from the eternal worries about money, it is precisely the freedom I have had which was able to lure me away from myself. I would so much like to get to the point where I can create something that is me. It is up to the future to determine for us whether I'm acting bravely or not. The main thing now is peace and quiet for my work, and I have that most of all when I am at Otto Modersohn's side.”

Paula Modersohn-Becker

In a letter to her friend Clara Rilke-Westhoff, 17 November 1906; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 206
1906 + 1907

“I am constantly observing things and believe that I am coming closer to beauty. In the last few days I have discovered form and have been thinking much about it. Until now I've had no real feeling for the antique. I could find it very beautiful by itself. But I could never find any thread leading from it to modern art. Now I've found it, and that's what I believe is called progress.”

Paula Modersohn-Becker

excerpt of her Journal, 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 198
1899

“Today I saw an exhibition of old Japanese paintings and sculpture [in Paris]. I was seized by the great strangeness of these things. It makes our own art seem all the more conventional to me. Our art is very meager in expressing the emotions we have inside. Old Japanese art seems to have a better solution for that... We must put more weight on the fundamentals!! When I took my eyes from these pictures and began looking at the people around me, I suddenly saw that human being are more remarkable, much more striking and surprising than they have been painted. A sudden realization like that comes only at moments.”

Paula Modersohn-Becker

excerpt of her Journal, Paris, 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

“Night and day I've been most intensely thinking about my painting, and I have been more or less satisfied with everything I've done. I'm slacking a little now, not working as much, and no longer so satisfied. But all in all, I still have a loftier and happier perspective on my art than I did in Worpswede. But it does demand a very, very great deal of me – working and sleeping in the same room with my paintings is a delight... When I wake up in the middle of the night, I jump out of bed and look at my work. And in the morning it's the first thing I see..”

Paula Modersohn-Becker

In a letter from Paris, 15 May 1906 to Otto Modersohn in Worpswede; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 204
1906 + 1907

“I paint all day. First Becka Brotmann with her loose yellow hair and just a suggestion of dahlias in the background. Then I painted Anni Brotmann at the clay pit, where the sun nearly baked us. In the afternoon I painted Rieke Gefken holding red lilies. I think it is the best thing I've done so far – I'll show it to Mackensen [her teacher in Worpswede] tomorrow. I spent another hour with Vogeler, yesterday.... he showed us a sketchbook full of his ideas for etchings.... many really fine and original things.”

Paula Modersohn-Becker

in a letter to her mother, from Worpswede, c. 28 August 1897; as quoted in Paula Modersohn-Becker, The Letters and Journals by Paula Modersohn-Becker, eds. Günter Busch, Liselotte von Reinken, Arthur S. Wensinger, Carole Clew Hoey - Northwestern University Press, 1998, p. 81
1897

“Today I was on the Rue Laffette where the art dealers are. There is so much of interest to see here. You know the things that you call 'the artistic' in art. The French possess to a high degree this sense of not having to bring everything to a pitch of perfection. The mobility in their nature really comes to their aid there. We Germans always obediently paint our pictures from top till bottom, and are much to ponderous to do the little oil-sketches and improvisations which so often say more than a finished painting.”

Paula Modersohn-Becker

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 14 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 292
1900 - 1905

“In the last few days I have been thinking very intensively about my art and I believe that things are progressing for me. I even think that I'm beginning to have a liaison with the sun. Not with the sun that divides everything up and puts shadows in everywhere and plucks the image into a thousand pieces, but with the sun that broods and makes things gray and heavy and combines them all in this gray heaviness so that they become one. I'm thinking about all of that very much and it lives within me besides my great love. A time has come when I think that I shall again be able to say something [in her painting] one day; I am again devout and full of expectation..”

Paula Modersohn-Becker

In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905