“What I consider to do with the new course [at The Academy of Art in The Hague] is: in the morning doing large plaster and in the afternoon painting or drawing after Nature, what I am doing already for some time, and [drawing] horses in the Municipal Horse Riding School. The Director is Sir Krüger, a very charming German who has seen of course many horses and so he knows how to show me the mistakes I make, which are not few.”

— George Hendrik Breitner

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Wat ik mij voorstel met de nieuwe cursus te doen is: 's morgens grootpleister en 's middags schilderen of naar de natuur teekenen. waarmede ik reeds eenige tijd bezig ben. en paarden in de Stadsrijschool. De Dir. daarvan is den Heer Krüger een alleraardigste duitscher, die nat. veel paarden gezien heeft en me dus de fouten weet te zeggen, die ik maak en die niet weinige zijn.
early quote of Breitner in his letter to his Maecenas A.P. van Stolk, 11 April 1878; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/585
before 1890

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George Hendrik Breitner 31

Dutch painter and photographer 1857–1923

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“In the [art-magazine] 'Kunst-Kronijk' my work 'Monastic corridor' came under your eyes; it is after a drawing that I started at Kleve after Nature and of which the painting is now almost finished. I believe, you know Kleve. The smallest of the Catholic Churches is a kind of monastery church; it has a nice sacristy, and the passage along the building gave me the motive of which you saw the lithography. On the same spot I designed a sketch in the 'Paarden-posterij' [Horse post-location] (where the cars are stored at Emmerich). I later made it a drawing - one of my best, and also the construction of it is now already in oil, to be completed soon. As motive, aspect, effect, etc. it pleases everyone - it is a real stable with lots of horses in it, and yet I do not have to make an enormous effort to paint the horses. As they are in the stable, they take the mysterious part [of the image]. Who knows, the K[unst]-K[ronyk] will produce a reproduction of it.”

Johannes Bosboom (1817–1891) Dutch painter

version in original Dutch, (citaat van een brief van Johannes Bosboom, in het Nederlands:) In de 'Kunstkronijk' kwam U mijn 'Kloostergang' onder de oogen; 't is naar een Teek[ening] die ik te Cleef naar de Natuur begon en waarvan nu de schilderij bijna gereed is. Ik geloof, gij kent Kleef. De kleinste der Kath. Kerken is een [soort] van Kloosterkerk, heeft een aardige sacristy en de gang langs het Pand gaf mij het motief, waarvan gij de lith[ographie] zaagt. Bij datzelfde verblijf ontwierp ik eene schets in de Paardenposterij (waar de wagens op Emmerik stallen). Ik maakte die later tot eene Teek[ening], een mijner beste, en ook daarvan staat de aanleg in olie gereed, om eerlang voltooid te worden. Als motief, aspect, effect, etc. bevalt het een ieder - 't is een echte stal, waar veel paarden in zijn, en toch hoef ik mij aan het schilderen der paarden niet te buiten te gaan. Zooals ze erin zijn, nemen zij het mysterieuse gedeelte in. Wie weet, levert de K[unst]-K[ronyk] er niet een reproductie van.
Quote from Bosboom's letter, 1866; as cited in: Uit het leven van een kunstenaarspaar: brieven van Johannes Bosboom, H.F.W. Jeltes, 1916 https://rkd.nl/nl/explore/excerpts/437 (translation from the original Dutch: Fons Heijnsbroek)
1860's

“I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one.”

George MacDonald (1824–1905) Scottish journalist, novelist

The Fantastic Imagination (1893)
Context: "But surely you would explain your idea to one who asked you?"
I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them.
So long as I think my dog can bark, I will not sit up to bark for him.

“If economists wished to study the horse, they wouldn't go and look at horses. They'd sit in their studies and say to themselves, "what would I do if I were a horse?"”

Ronald H. Coase (1910–2013) British economist and author

Ronald Coase in speech to the "International Society of New Institutional Economics" the 17 September 1999, Washington DC. He claims he was quoting fellow economist Ely Devons which reportedly said this in a meeting
1990s and later

“What an excellent horse do they lose, for want of address and boldness to manage him! … I could manage this horse better than others do.”

Alexander the Great (-356–-323 BC) King of Macedon

Statement upon seeing Bucephalas being led away as useless and beyond training, as quoted in Lives by Plutarch, as translated by Arthur Hugh Clough

“Pure painting or the art of drawing whose point of departure is based on purely formal criteria is, in my opinion, passé. I do not reject it if other artists make attempts, but as far as I am concerned, this is what I believe. if I do not place a text next to my drawings, I consider the work on such programmes to be futile.”

Günter Brus (1938) Austrian artist

Source: Nervous Stillness on the Horizon (2006), P. 208 (1993)

“Do you know what I long for sometimes? To make a trip to Brabant. I should love to draw the old churchyard at Nuenen, and the weavers. To make, for instance, during a month, studies of Brabant, and to come back [to The Hague] with a lot of them, for a large drawing of a peasant funeral for instance.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote of letter 295, from The Hague, 1883; as cited in Vincent van Gogh, Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, catalog-page: Dutch Period 2. - Weaver
1880s, 1883

“What good do you think it does to waller all over a horse thataway? said Rawlins.
I dont know, said John Grady. I aint a horse.”

Cormac McCarthy book All the Pretty Horses

All the Pretty Horses (1992)

“Now answer me this. Do you think that the same holds of horses? Do people in general improve them, whereas one particular person corrupts them or makes them worse? Or is it wholly the opposite: one particular person - or the very few who are horse trainers - is able to improve them, whereas the majority of people, if they have to do with horses and make use of them, make them worse? Isn't that true, Meletus, both of horses and of all other animals? Of course it is, whether you and Anytus say so or not. Indeed, our young people are surely in a very happy situation if only one person corrupts them, whereas all the rest benefit them.”

Socrates (-470–-399 BC) classical Greek Athenian philosopher

25b
Plato, Apology

“As far as I can remember, it was about 25 or 26 years ago that Breitner [his pupil then] painted with me in 'Huize Rozenburg' [The Hague]... There I had a large garden where he painted his dragoons with horses, posing there in front of him..”

Willem Maris (1844–1910) Dutch landscape painter of the Hague School (1844-1910)

version in original Dutch / citaat van Willem Maris, in het Nederlands: Voor zover ik me kan herinneren is het zoowat 5 of 26 jaar geleden, dat Breitner [zijn leerling toen] bij mij schilderde in den Huize Rozenburg.. .Ik had daar een grote tuin en daar schilderde hij zijn dragonders met paarden, die hij daar liet poseren..
Source: a letter of Willem Maris to Plasschaert 5 Jan. 1906, RKD Den Haag (translation from original Dutch, Fons Heijnsbroek, 2018)

“…this bull is a bull and this horse is a horse… If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Quoted in: Paul Jones (2011), The Sociology of Architecture: Constructing Identities. p. 47.
Other explanation by Picasso of the Guernica.
Quotes, 1930's

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George Hendrik Breitner 31

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