“. In the beginning I was struggling very much with [painting] children, for that painting by Br. [probably, Henk Bremmer? ]. It has an almost square format. The woman must look to the right [and] there must be a child with her... But I painted only a few children with mothers, and recent times not at all; and then that size (square), I don't know how to handle it. I now think to come back to The Hague Sunday afternoon [and] to leave Heeze early. Monday here is another holy Day [catholic region]. So I can not work then..”

— Suze Robertson

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Suze Robertson's brief:) .Ik heb hier in het begin nog al erg getobd met kinderen, voor dat schilderijtje van Br. [waarschijnlijk, nl:Henk Bremmer?]. Het formaat dat bijna vierkant is. De vrouw moet naar rechts kijken [en] er moet een kind bij.. .Maar kinderen bij moeders heb ik weinig geschilderd tenminste in de laatste tijd heelemaal niet en dan kan ik met dat formaat (vierkant) niet goed klaarkomen. Ik denk nu haast Zondagmiddag in den Haag te komen vroeg hier uit nl:Heeze te gaan. Maandag is hier weer heilige Dag [katholieke bevolking]. Dus kan ik ook niet werken..
In a letter of Suze Robertson from Heeze, 11 August 1904, to her husband Richard Bisschop in The Hague; as cited in Suze Robertson 1855-1922 – Schilderes van het harde en zware leven, exhibition catalog, ed. Peter Thoben; Museum Kemperland, Eindhoven, 2008, p. 11
1900 - 1922

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Suze Robertson 18

Dutch painter 1855–1922

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translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) Zaterdag avond was het een regenachtige avond. Ik heb daarvan geprofiteerd en [om] de heele avond op de Dam alles nog eens goed over te teekenen en Zondag mijn schilderij heelemaal overgeschilderd, de geele nare kleur is er heelemaal uit. Het is veel ruimer geworden, en ik geloof dat het er nu is. Toen mijn modelletje kwam, trof haar de verandering zoo erg dat het zei, hè meneer, nou is het schilderij mooi geworden. Ik zelf ben er erg mee in mijn schik, want het is geloof ik, heel goed.
quote of Breitner in a letter to his friend Herman van der Weele, Amsterdam, 14 June 1893; original letter in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/54
1890 - 1900

“I find it hard living on my own, but I imagine I would find it difficult not living on my own. Perhaps I could still change my mind. That's everyone's drama. We all make different compromises. And, no, I don't regret not having children. Given my painting, children could have suffered. A mother must make her children come first: young children are helpless. Well, paintings are objects but they're also helpless.”

Helen Frankenthaler (1928–2011) American artist

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“I feel now if I think of it, it will come out in the painting. In other words, if I want to make the whole painting look like a bottle, like a lot of bottles - for instance maybe the end of the day, when everything is very light, but not in sunlight necessarily - and so if I have this image of this bottle and if I really think about it, it will come out in the painting. That doesn’t mean that people notice a bottle, but I know when I succeed in it – then the painting would have this.”

Willem de Kooning (1904–1997) Dutch painter

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“Each painting has its own way of evolving. One may start with a few color areas on the canvas; another with a myriad of lines, another with a profusion of colors... Once I sense the suggestion I begin to paint intuitively. The suggestion then becomes a phantom that must be caught and made real. As I work, or when the painting is finished, the subject reveals itself.”

William Baziotes (1912–1963) American painter

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“.. I have painted a few studies of the figure… I send you [Theo] two sketches. The painting of the figure appeals to me very much, but it must ripen - I must learn to know the technique better - that which is sometimes called "la cuisine de l'art". In the beginning I shall have to do much scraping, and often to begin anew, but I feel that I learned from it and that gives me a new fresh view on the things.”

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

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“I did not know how to paint or even what to paint, but I knew I had to begin.”

Margaret Atwood (1939) Canadian writer

Source: CAT'S EYE.

“Soon after completing the 'La Combe' series [circa 1950] I had a dream in which I was assisted by many children on a scaffold, painting a huge mural made up of square panels fitted together. Each panel was being painted by a child very quickly in long black strokes with huge brushes. The work was done in seconds. Upon waking I immediately made a reminder sketch of the mural. Later I made a drawing of many ink strokes, which I cut up into twenty squares and placed at random in a four-by-five grid..”

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“..at home [in Brussels, 1869] I was messing around all winter long with a painting; it was a coast, but painted so primitive. Then I said: you must see the sea in front of you, every day, you have to live with it, otherwise it doesn't work. Then we went to The Hague.”

Hendrik Willem Mesdag (1831–1915) painter from the Northern Netherlands

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Hendrik Willem Mesdag, in het Nederlands:) ..thuis [in Brussel, 1869] had ik een heelen winter aan een werkstuk zitten scharrelen; 't was een kust, maar zo naiëf geschilderd. Toen zei ik: je moet de zee voor je zien, elken dag, er mee leven, anders wordt het niets. En toen gingen we naar Den Haag.

Quote of Mesdag, as cited by J.D. in 'Een Zeerob', in De Nieuwste Courant, 9 March, 1901
after 1880

“When I look back to a recent painting, I can hardly bear th suffering in it.”

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“I do both: I make preliminary drawings, other times I paint directly, other times I start a painting and then paint it out so that it becomes another painting or nothing at all. If a painting doesn't work, throw it out. When I work from preliminary sketches, I don't just enlarge these drawings, but plan my areas in a large painting by using small drawings for separate areas. I combine them in a final painting, often adding to or subtracting from the original sketches.... There are certain canvases here in my studio - the little one over there – that I've worked on for a good six months – painting most of it out and then painting it over and over again. I think I've got it now.”

Franz Kline (1910–1962) American painter

1958
1960's, Talks with Seventeen Artists, 1962

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